Italy’s BLOODY BEETROOTS, helmed by Sir Bob Cornelius Rifo, returns this summer with “Rocksteady,” a new track for Ultra Music. Out today (June 26), “Rocksteady” is the follow-up to the BLOODY BEETROOTS track “Church Of Noise” ft. Dennis Lyxzén and will take charge of dance floors the world over. “Rocksteady” is available via iTunes here: http://goo.gl/OoKtJ
The accompanying video will make its debut June 28. In a recent interview with Magnetic, Sir Bob reveals its vibe when asked: What’s the most memorable time you’ve had on the road outside of the club? “You know what, my brain does not collect recent data but last week I was in Death Valley and it was mad fun! Girls, Shotguns, 70’s muscle cars, Dust…Nice! (Filming the new music video of course.)”
Meanwhile, the Italian producer, born the same year as punk rock (a fact emphatically made clear by the “1977” tattooed across his chest), will be joined by his BEETROOTS FX mate Tommy Tea for two exclusive DJ engagements in the States: Saturday, August 4 at HARD SUMMER in Los Angeles and Sunday, September 2 at Electric Zoo in New York City.
BLOODY BEETROOTS has always been an anomaly amidst the cocooned trends and coddled pedigrees of dance music. After fits and starts in Italian garage-punk bands, Rifo launched BLOODY BEETROOTS in 2007 and over the next three years, he would win the support of electro house heavyweights Étienne de Crécy and Alex Gopher in Europe and Dim Mak’s Steve Aoki Stateside, with each production more elaborate and ambitious than the last.
From the start, BLOODY BEETROOTS was capable of synergizing sonics and sensibilities from The Damned to Debussy, the anthemic wistfulness of new wave and primal screams of hardcore punk, into remarkably actualized efforts that became platforms for larger socio-political historiography and cultural histrionics: the homage to Italian Futurism of “Rombo,” the cinematic soundtrack to Nazi resistance (and you thought it was just dance music) that is “Domino”—the striking black and white video features Rifo using only a book as weapon, and the kick drum pattern, in anirony too rich to ignore, recalling New Order’s “Blue Monday.” Then there’s the sci-fi fantasy anarchism of writer Michael Moorcock in “Cornelius” and the Trekkie techie nerd joy of smearing sounds that is simply cerebellum meltingly “Warp.” Clearly on Rifo’s watch, anything’s not only possible—but from the sheer vastness of sounds and media that have materialized—probable as well. From one-man studio production to full band live shows with BLOODY BEETROOTS DEATH CREW 77, dance tracks to films, photography, fashion and socio-political activism, are all encompassed.