The Bloody Beetroots – Hide – Review

the bloody beetroots

Barry Quinn

Barry Quinn is an English Language and Literature graduate and a Creative Writer MA studier. He is an aspiring creative and professional writer and is currently in the process of writing his first novel. His writing blog can be viewed here: https://barrygjquinn.wordpress.com You can follow him on Twitter at: @mrbarryquinn

Latest posts by Barry Quinn (see all)

The Bloody Beetroots, the pseudonym of Sir Bob Cornelius Rifo, is an electro house and dance-punk Italian artist who hides his real persona behind a mask of Venom, Spiderman’s archenemy. Emerging in 2006, Hide is The Bloody Beetroots’ second full-length album, serving as a follow up to 2009’s fantastic Romborama. It’s much more aggressive than its predecessor, and completely addictive.

Hide consists of a multitude of genres; from the heavy rock beats of ‘Raw’ which features just one of the many album collaborations, Tommy Lee who denounces disco music when the track warps into such, before declaring “give me rockshit!” as the guitar riffs burst over once again; ‘Runaway’ which blends house, dubstep and drum and bass effortlessly into an infectious, lyric-less song; and ‘All The Girls’, where RnB beats and synths plough throughout, perfectly suited to Theophilus London’s smooth vocals. ‘Albion’ and ‘Reactivated’ are slightly generic in terms of dubstep music, but they are decent enough. They certainly aren’t highlights of the album, but nor should they be dismissed so quickly. The truth is that there isn’t a poor song on Hide; in fact the rest are stunning.

‘Chronicles of a Fallen Love’ is a slow-burning gem which marries dubstep beats with a subdued, quiet opening. A relaxing beat recurs beneath Greta Svabo Bech’s voice which is slightly reminiscent of Ellie Goulding, especially towards the conclusion, whereas the euphoric musical breakdowns evoke thoughts of Zedd’s ‘Clarity’, but the song is completely unique in its own right, and certainly one to download. ‘Please Baby’ is a jaunty disco affair which gets beneath your skin and makes you want to dance the night away in a similar vain to ‘Spank’, which asks you outright “you wanna dance?” before the buzzing and thumping beats make you not want to, but HAVE to dance. ‘The Beat’, featuring Peter Frampton plays a similar trick, with slow and subdued verses before a raspy voice declares “pump it!” and the beat infects the listener, once more making them want to dance.

‘Glow in the Dark’ and ‘Out of Sight’ are slow and haunting and some of the simplest songs of the album, with the former featuring Sam Sparro’s distinct soulful voice over a moody, twinkling beat and the latter heavy in rock and roll, perfect for Paul McCartney’s raw voice. They are a massive contrast with ‘The Furious’ which features Penny Rimbaud furiously ranting at America over furiously pounding beats and ‘The Source (Chaos & Confusion)’ which is so in-your-face you can almost feel the beats bursting through your earphones.

‘Volevo Un Gatto Nero (You Promised Me)’ is a stunning closing to the album. The song changes constantly throughout, from the simple and innocent child-like opening children’s story to the harshly contrasting music breakdowns which overall produces a song which perfectly shows what The Bloody Beetroots are capable of; stunning, infectious EDM. Hide is a massive step up from Romborama and the praise lauded upon it so far is certainly justified. If you like dance music, or house, or dubstep, RnB, trance… Hell, if you like MUSIC then I seriously urge you to buy this album. You won’t regret it.