Our interview with The Bloody Beetroots

Our interview with The Bloody Beetroots

Giulia Guido · 2 months ago · Music

In the middle of the tour, which will see him on January 31st at Magazzini Generali in Milan and on February 1st at the Locomotiv Club in Bologna, we had the chance to have a chat with The Bloody Beetroots, also known as Sir Bob Cornelius Rifo, or simply Bob. Since 2006, Bob has revolutionized an entire music scene thanks to his style that perfectly blends punk and electronic, hip hop and classical, hard rock and new wave music. 

With our chat, we tried to understand who is behind the famous mask, but we also talked about music, the current Italian scene, and future projects.  

This is the first time we’ve talked about you on Collater.al. Tell us who is The Bloody Beetroots.

I’m Bob, Bob from The Bloody Beetroots, and I’ve been doing electronic music since the end of 2006, I’ve released three albums, a lot of EP, I’m still releasing stuff and I’ve played at all the festivals in the world: I’ve been at Coachella twice, Lulapaloosa I can’t even remember how many times, Primavera Sound, Sziget, Mad Cool, Fuji Rocks. I mean, I think I did everything I could do. That’s kind of the gist of it. 

Tell us where the idea of performing with a mask comes from and what it’s inspired by.

PH Godly Sinner

Basically, being popular or famous with my face has never interested me and still doesn’t interest me, so I used the mask as a catalyst to attract attention, and it works, and then to protect my privacy. I take off the mask and live a very normal life and that’s what I love because I have this theory: fame produces alienation and when you’re alienated and you can’t live the social you can’t write songs anymore. If I am self-alienized I have finished working, I no longer have a language and my language belongs to the fibulae. I think this is the key that has led The Bloody Beetroots to be in the music business for 15 years. 

The choice of covering the face seems to be more and more common, I remember among the many Myss Keta or even Liberato. How do you explain this phenomenon and in your opinion it is becoming a purely aesthetic choice? 

I don’t know, in any case, by now, the mask is cleared through customs, it doesn’t make such a fuss anymore to wear the mask or hide. It’s an artistic choice, I think. Everyone has their own way of identifying with the mask. 

It’s been 10 years since Warp. Has anything changed in the way you make music and your style since then? And, at the same time, are there aspects that have remained unchanged?

I think the lowest common denominator of The Bloody Beetroots is the punk soul, that’s what always remains is whether we do techno, house, or other things what you will always find is a very strong presence of punk in everything we do because it’s our attitude.

What has never changed is this attitude of writing, not having barriers in writing music, so The Bloody Beetroots belongs to all genres and nobody. If we take my last three years we compare them, nothing sounds the same as nothing but you find something that resembles but without understanding what it is and that is exactly the punk soul I was talking about before.

PH Mark Kola

This hasn’t changed, just like the way The Bloody Beetroots evolves, always changing and being chameleonic, this also means making courageous choices and sometimes starting from scratch. This is something I love to do because I don’t have to prove anything to anyone but myself. For me creating new musical challenges, sound design, figuring out what to belong and how to belong, how to reconfigure myself is something I love to do and every three years or so I do it and this new era of The Bloody Beetroots is proving that. In 2019 we have become independent, we have increased our streaming on Spotify, we have increased our fanbase and with a new Bloody, formed by both old and new fans we have decided to play The Bloody Beetroots again in places where we had never played before and I have to admit that I am very impressed with the result.

How would you describe the current Italian Electro scene and how would you compare it to that of other countries?

I think Italy suffers a lot from fashions and therefore this precludes the creation of an underground base for new talent to grow. It seems that sometimes there are some isolated things, now the trap and techno go and there’s nothing in between. So it’s very difficult to talk to the general public because they don’t know what’s in between, but that’s where The Bloody Beetroots is. So it’s my job to try to educate the listeners of both sides to this medium, to this scene that exists all over the world, but not in Italy, unfortunately. 

Heavy is your last EP. How was it born?

So, in 2019 we started asking ourselves “what are we doing this year?”, we do The Bloody Beetroots DJ set, we said to ourselves. Heavy was born from the need to present music to support the DJ set, it has only and exclusively that purpose there. I tried a little bit to expand the genres I wanted to touch so a little bit of electro, house and a little bit of techno and this Heavy came out.
In addition to that, we did releases with Zhu, this American artist, of techno pieces totally different from what we are used to doing and we also did a mix for Frank Carter & The Rattlesnakes which was another experiment to touch the rock scene and see if there could be a sense. 
So all experiments to fill this DJ set. This year we plan to release at least ten new tracks, so club tracks, we have an official remix of Green Day which is another experiment to see what happens if I turn Green Day. All these experiments represent what you’ll find coming to The Bloody Beetroots DJ set: a multitude of genres related to the punk spirit in a pretty unique way.

Next January 31 you will be in Milan, at Magazzini Generali and then on February 1 at the Locomotiv Club in Bologna. What to expect from these two dates? 

Chaos, so much chaos. High volume, total madness, stage diving, mosh pit, people walking on top of other people. An anarchist playground where you celebrate nothing and make a mess of the madonna. It’s The Bloody Beetroots, you call The Bloody Beetroots to make a shitload of shit. 

PH Mark Kola

Future projects? 

In addition to The Bloody Beetroots, I’m working on my photography project that will see the light on March 5th in Milan in an exhibition, where you will see the people who are part of The Bloody Beetroots project, the places we visited and the memories I bring. Then there will be my training and CrossFit activities that sometimes also involve my fanbase, then we have some activities in parallel with the motor world. Last year we did the Gymkhana GRiD with the guys from Hyperdrive who have a show on Netflix and we also released a bike last year so we’re going to ride in the Dolomites and Los Angeles. So a lot of activities, just like music a lot of chaos. 

Our interview with The Bloody Beetroots
Our interview with The Bloody Beetroots
Our interview with The Bloody Beetroots
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“The great empty” a project by New York Times

“The great empty” a project by New York Times

Emanuele D'Angelo · 1 week ago · Photography

From Paris to New York, via Munich, Los Angeles, Hong Kong, Beijing, Milan, and New Delhi, the New York Times“The great empty”, a new project recounts the lockdown caused by Covid-19.
More and more countries are forced to adopt more or less severe exit restrictions to fight the pandemic. While countries like Italy have adopted total containment rules, other countries have so far “simply” closed a multitude of housing areas. The whole world experiences an unreal atmosphere, public places are abandoned by people and supermarkets are stormed.

The New York Times presents his project at its best: “This current vacuum is a health necessity. It can make you think of dystopia, not progress. But in the end, it also confirms that, by listening to the experts and staying at home, we have not lost our ability to unite for the collective good. These images haunt and will haunt you, they look like apocalyptic films, but in a certain sense they also convey a message of hope“.

The New York Times project contemplates the emptiness created by isolation in places that are usually crowded, chaotic, full of people, but now empty. A way to illustrate and remember the radical change in our habits in these times of global health crisis.
From tourist places to small typical restaurants, it is the absence of life that upsets these clichés, each one more suggestive than the other.

Shots that count the silence of many cities, with the hope that we can return as quickly as possible to everyday life.

“The great empty” a project by New York Times
“The great empty” a project by New York Times
“The great empty” a project by New York Times
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The magical atmosphere in Nguan’s shots

The magical atmosphere in Nguan’s shots

Giulia Guido · 1 week ago · Photography

It’s not the first time we talk about Nguan, previously we had dedicated an article to his project that tried to show the concept of globalization through images taken in the streets of cities full of people. 

Now let’s talk about Nguan again because since then we have continued to follow him and his new works deserve more space. 

Among his projects that impressed us the most is City of Dreams, a series of photographs taken in Los Angeles, par excellence a city where people go to make their dreams come true. Unfortunately, not everyone makes it and sometimes the capital of the film and entertainment industry hides corners where dreams are dead, evanescent and lost. 

But if you take the time to take a ride on the Instagram profile too, you’ll discover a different Nguan that offers us almost dreamlike views of cities, illuminated by the light of a sunset that always makes everything more beautiful. Among the many shots, below you can find a selection of photographs taken inside a ferry, where time seems suspended and people are waiting, bored, to arrive at their destination. 

Nguan’s is a delicate world, which surrounds us but often we are not able to see. 

The magical atmosphere in Nguan’s shots
The magical atmosphere in Nguan’s shots
The magical atmosphere in Nguan’s shots
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Conceptual Food, the photographic series by Michael Crichton

Conceptual Food, the photographic series by Michael Crichton

Giulia Guido · 6 days ago · Photography

Still life has always made us immediately think of something static and detached. After all, what do we expect from a genre that in Italian takes the name of ‘natura morta’. To be able to transform it into something eventful and involving is almost impossible, but someone has succeeded. 

Michael Crichton, the name behind which also hides that of his creative partner Leigh MacMillan, has completely revolutionized the concept of still life with his shots that capture food, as in any still life that wants to be respected, but under a totally different guise. You only need to take a quick look at projects like Conceptual Food to understand that, contrary to what we have always thought, still life is a genre that knows no limits. 

Forget perfectly laid tables, fruit baskets and food positioned in favor of the spectator. The food photographed by Michael Crichton flies from one side of the room to the other, suspended in the air just before it pitifully lands on the ground. The only things left on the table are the shadows of slices of bread, cups of coffee, eggs or mustard. 

The impressive thing about Michael Crichton’s shots is that, despite the great work in post production, every single food we see has actually been thrown in front of the camera lens, not once, not twice, but countless times before we get to the perfect result, so perfect that we find it hard to believe our eyes. 

In addition to being aesthetically satisfying, Michael Crichton’s result has resulted in McDonald’s, Nutella or Kellogg’s a new, fun and dynamic way of presenting a product. 

Ready to see the ordinary turn into the extraordinary?!

PH: Michael Crichton Photo

Conceptual Food, the photographic series by Michael Crichton
Conceptual Food, the photographic series by Michael Crichton
Conceptual Food, the photographic series by Michael Crichton
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The freedom without veils in Birdee’s shots

The freedom without veils in Birdee’s shots

Giulia Guido · 5 days ago · Photography

Blackbird fly, blackbird fly / Into the light of the dark black night, sang the Beatles more than fifty years ago, and it is this song, and its message of freedom, that inspired Jamie Johnson in the choice of what is now her stage name, Birdee.

Birdee has been shooting since 2014, when she started with self-portraits. Today, her photographs taken mainly in analogical form are able to analyze the themes of femininity, strength and grace. 

The young girls who are the protagonists of her shots are beautiful, carefree, suspended but not for this reason they are not determined and tenacious. Moreover, the fact that we almost never show their bodies in full and often hide their faces helps us to identify with them. They are nobody, so they can be anyone, even ourselves. 

Scrolling through Birdee’s website or her Instagram profile, you will notice that in addition to female figures there is also another element that always comes back in her shots, real water. It almost seems as if the graceful covers of the girls who shoot are transformed in contact with the waves of the sea or a swimming pool. The little bubbles that caress the skin give light and life to the images. 

Discover a selection of Birdee’s photographs below. 

The freedom without veils in Birdee’s shots
The freedom without veils in Birdee’s shots
The freedom without veils in Birdee’s shots
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