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The Bloody Beetroots

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“BOB KNOWS I DO THE BEST I CAN, SO FUCK EVERYTHING!”

Bloody Beetroots is Sir Bob Cornelius Rifo, the Italian producer born the same year as punk rock, a fact emphatically made clear by the “1977” tattooed across his chest.

In fact, that tattoo is about the most identifying public feature of Rifo, whose penchant for wearing masks (see other cultural phenomena from Underground Resistance to “V is for Vendetta”) seems to be a declaration of ominous anonymity that defers the spotlight to his long list of productions, projects, films, art, manifestoes and musical incarnations emanating from his

Bloody Beetroots production epicenter: Bloody Beetroots DJ set where the decks-manning Rifo is joined by FX man Tommy Tea; Bloody Beetroots Deathcrew 77, his “electro-punk” band with drummer Battle and Tea capable of turning a gig for thousands of fans into a political rally/empowerment seminar, and in his forthcoming embodiment, Church of Noise, which is nothing short of a “cultural-musical movement,” as Rifo calls it, with Dennis Lyxzen of Swedish hardcore punk-pioneers Refused and The (International) Noise Conspiracy.

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. Over the next three years, he would win the support of electro house heavyweights Etienne de Crecy and Alex Gopher in Europe, and Dim Mak’s Steve Aoki stateside, with each production more elaborate and ambitious than the last.

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