Like many people, I assume, I was introduced to The Bloody Beetroots through his single “Warp 1.9” with Steve Aoki. That “whoop whoop” became the anthem of 2009-2010, and my eyes still light up now when I hear it teased before a drop. Years later, The Bloody Beetroots dropped his sophomore album, Hide. It performed infinitely better than Romborama did on the charts, though in the grand scheme of dance music history, it hasn’t withstood the test of time.
Today marks the release of The Bloody Beetroots third album, The Great Electronic Swindle. I’ve had this album since July, and truthfully it has been one of the greatest secrets I’ve ever had to keep in my time as a music journalist. Through each and every re-listen, this album has consistently blown me away with its inventive blend of rock and electronic elements. Such a feat, for me, hasn’t been accomplished Pendulum’s In Silico or last year’s Warrior Sound by The Qemists.
A large part of the album’s charm is its flow. Despite being 20 tracks long, it never feels like it’s dragging or jumping ahead. Even when two consecutive songs are at complete odds with each other, as is the case with “Invisible” and the following “All Black Everything” … it works. Bright, opulent melodies followed by brash, rugged guitar riffs somehow creates a very unique and altogether “bloody” universe in which Sir Bob Cornelius Rifo resides.
And speaking of “Invisible” with Greta Svabo Bech, that is probably one of the most beautiful, goosebump-inducing electronic songs I have heard in bass music in a long, long time. I get chills every time.
The list of collaborators on the record is also quite impressive. One of the most notable collaborations comes in “Pirates, Punks & Politics” with Perry Farrell, the legendary frontman for rock group Jane’s Addiction; the song also features a writing credit from Tommy Lee.
Other collaborations on the album come from deep within the rock world such as Gallows, Anders Friden of In Flames, Deap Vally and JET who banded together for their first recording in seven years with the double single “My Name Is Thunder.” There are also appearances from Greta Svabo Bech, known for her angelic vocals, pop’s Eric Nally (Foxy Shazam) and Mr. Talkbox, plus Rival Sons’ Jay Buchanan who takes a twist with the ballad “Nothing But Love.”
“This is the first time I have used so many vocalists and lyrics in The Bloody Beetroots music. I chose the greatest vocalists I knew that could help tell the story of about four years of life,” says The Bloody Beetroots about The Great Electronic Swindle.
Kristine Cannon for Alternative Press wrote that this album “might just become the next shining gem that not only adds substance to the electronic world, but also merges electro and rock in a powerful way.” I would be hard pressed to argue with Cannon’s assessment.
For this writer, at least, this is the #1 album in dance music of 2017.
Listen to The Bloody Beetroots’ new album The Great Electronic Swindle below.
North American dates for the “My Name Is Thunder Tour” are:
10/27 | Music Box | San Diego, CA
10/28 | Independent | San Francisco, CA
10/29 | The Fonda Theatre | Los Angeles, CA
10/31 | The Depot | Salt Lake City, UT
11/2 | Summit Music Hall | Denver, CO
11/4 | First Avenue | Minneapolis, MN
11/5 | Concord Music Hall | Chicago, IL
11/6 | Magic Stick | Detroit, MI
11/7 | Opera House | Toronto, ON
11/9 | Warsaw | Brooklyn, NY
This article was first published on Your EDM.
Source: The Bloody Beetroots Releases Best Album Yet, “The Great Electronic Swindle”
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House Music is the soul survivor of a murdered disco dynasty. A dynasty that brought freedom of experession through dance and fashion. A definite anti-establishment media HIT job programmed and pushed thru corporate radio. - Jason Ring
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