The Bloody Beetroots – Beat roots

31 Dec
The Bloody Beetroots

The Bloody Beetroots

The Bloody Beetroots must be a novel concept in Venice. It’s hard to correlate the palazzi, churches and gondolas with the smash-it-up formidable force of Sir Bob Cornelius Rifo, the mastermind behind The Bloody Beetroots.

“We’re trying to destroy all,” Rifo says struggling a little with English. “The new generation of DJs is coming up!”

He is a part of that new wave of DJs who have a DIY punk ethic and choose to deliver a kick-ass show over quietly standing behind the turntables mixing tracks.

The Bloody Beetroots is Rifo’s electro pseudonym, but friend Tommy Tea joins him on stage. He also plays guitar in a hardcore band with Steve Aoki called Rifoki.

“I DJ electro, but my roots are punk and hardcore music,” Rifo explains. “The Bloody Beetroots are like a big club transformed as the CBGB,” the legendary New York City venue founded in 1973, which became home to bands like the Ramones, Misfits and Blondie.

Rifo is moving from Venice to Milan, where he’ll soon begin work on The Bloody Beetroots live show at the New Academy of Fine Arts. It’s all part of a master plan, which ties in with the release of Romborama, a hybrid arts project developed with illustrator Tanino Liberatore, creator of Rank Xerox (the ultra-violent comic of the ‘80s).

“I met Tanino in Paris in November and we started to work together. It took five months of discussions. Everything was in my mind – I needed only a connection with Tanino to make it happen. I couldn’t do it without him,” Rifo says.

Romborama is an anarchical musical opera based on a concept by Luigi Russolo, the first man to define electronic music and noise. ‘Rombo’ was one of the sounds generated by the first noise machine – the Romboator, which was Russolo’s invention.

Romborama aims to destroy the notion of musical genres, with the only common denominator being that it is electronic.

“The Bloody Beetroots will be a masked duo forever, but with this album, I need to talk about it without my mask on, ‘cause I’ve had enough of that. The album is a tribute to free-thinking, the fruit of my research into musical genres over the last decade.”

[As published in The Wire, issue 06, 02.07.09, The West Australian]


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