ARCHIVE
The past speaks. Archive holds the records, visuals, and fragments that built The Bloody Beetroots.
THE PAST IS NOT DEAD. IT’S LOADED. SIGNALS FROM EVERY ERA.
THE PAST IS NOT DEAD. IT’S LOADED. SIGNALS FROM EVERY ERA.
ALBUMS & EPs
THE GREAT ELECTRONIC SWINDLE
Released in 2017 on Last Gang Records, The Great Electronic Swindle was the moment The Bloody Beetroots pulled punk and rock blood back into the frame and rebuilt the project on a wider scale. Inspired by the spirit of The Great Rock ’n’ Roll Swindle by The Sex Pistols, the record was conceived as a deliberate collision — not just between genres, but between worlds, people, and real-life chapters. My Name Is Thunder became the detonator, born in Bob’s Home town with Nick Cester and expanded into a full Jet collaboration between Italy, Los Angeles, and Australia, eventually turning into one of the album’s biggest blows. Around it came voices like Perry Farrell, Gallows, Anders Fridén, Prayers, Mr. Talkbox, and Jay Buchanan, whose presence on Nothing for Love gave the record one of its deepest emotional cuts. The Great Electronic Swindle was lived through.
ROMBORAMA
Released in 2009 on Dim Mak, Romborama was the record that took The Bloody Beetroots from underground signal to global force. Built on the run of Rombo, Cornelius, and Butter, then detonated by Warp 1.9, it marked the moment TBB broke far beyond the underground and helped lay the foundations for the EDM era that followed. But the album also carried another layer of weight through its visual world: the artwork was developed with Tanino Liberatore, one of Bob’s deepest formative influences, whose imagery and countercultural language — rooted in Frigidaire, Ranxerox, and a raw Italian anti-establishment imagination — had already shaped the DNA of The Bloody Beetroots long before the record existed. Alongside MSTRKRFT, TBB became one of the defining forces of Dim Mak’s electro years, helping cement both the label’s identity and its rise from cult noise to global impact. Romborama arrived like a shift.
HIDE
Released in 2013 on Ultra Records, Hide was the moment The Bloody Beetroots widened the frame and stepped into a bigger, heavier, more cinematic form. Built around singles like Spank, Rocksteady, and Chronicles of a Fallen Love, the record moved with real scale — from the New York-shot Spank with Kenny Wormald to the desert violence of Rocksteady, filmed between Palm Springs, Death Valley, and Phoenix. That same chapter also carried the project further into television and commercial territory, with Out of Sight entering Teen Wolf and Reactivated landing in the BMW X1 campaign. But the real weight of the record also came from Paul McCartney, whose appearance on Out of Sight pushed the project into a different league, alongside a cast that included Tommy Lee, Peter Frampton, Greta Svabo Bech, and Theophilus London.
SCBR Vol. 1/2/3
Released on Dim Mak between 2015 and 2016, the SBCR trilogy — SBCR & Friends Vol. 1, SBCR & Adversaries Vol. 2, and SBCR & Punks Vol. 3 — documented a more volatile and exploratory side of Sir Bob Cornelius Rifo. Anchored by The Grid, whose video received a Berlin Music Video Awards nomination, the series moved with sharper edges and less predictable instincts, pulling the project deeper into club experimentation without losing its punk nerve. That same period also brought SBCR into notable sync territory, with tracks used in fashion and beauty campaigns for L’Oréal, Saint Laurent, and Lancôme, while the Refused remix of Elektra tied the project back to the same electronic-punk collision at the heart of Church of Noise.
THE CATASTROPHISTS w/ Tom Morello
Released in 2021 on Comandante LLC, The Catastrophists was the point where the first collision between The Bloody Beetroots and Tom Morello turned into a real creative run. It followed the 2020 protest single Stand Up, released through KIDinaKORNER/Interscope with Dan Reynolds and Shea Diamond, and pushed that chemistry further through The Devil’s Infantry, Radium Girls, Lightning Over Mexico, Keep Going, and Weather Strike, bringing in voices like Pussy Riot, Ana Tijoux, The Last Internationale, Aimee Interrupter, and White Lung. From there the relationship kept moving: Bob went on producing more Morello material, including The Achilles List with Damian Marley and Save Our Souls with Dennis Lyxzén of Refused, while Keep Going later found sync life in Netflix’s Rebel Ridge and in Morello’s stage production Revolution(s) at Chicago’s Goodman Theatre.
RIFOKI
Released in 2010, RIFOKI captured the hardcore punk collision between Bob Rifo and Steve Aoki. Built with Rocco Rampino (Congorock) on bass , Franz Valente on drums and produced by Giulio Favero (Il Teatro Degli Orrori), the project drew from British punk and DC hardcore, with artwork by Mark McCoy of Charles Bronson carrying an aesthetic nod to Christiane F. Released via Dim Mak, with a special vinyl edition tied to April 77, it stands as one of the most radical side moves in the wider TBB world.
THE PAST IS NOT DEAD. IT’S LOADED. SIGNALS FROM EVERY ERA.
THE PAST IS NOT DEAD. IT’S LOADED. SIGNALS FROM EVERY ERA.
FOREVER Pt.1
Released in 2025 on Out Of Line Music, FOREVER Pt.1 opened a new chapter for The Bloody Beetroots. Built with voices like N8NOFACE, Teddy Killerz, Tokky Horror, Grabbitz, Bob Vylan, and Jacknife, it framed the twenty-year mark not as a look back, but as a forward push — a young release, still unfolding, and already central to the project’s current identity.
SELECTED SINGLES
CHURCH OF NOISE Feat. Dennis Lyxzén
Released in 2011 on Ultra Records, Church of Noise was a statement piece — a sharp distillation of what The Bloody Beetroots was trying to become at that exact moment. Built with Martin “Youth” Glover (Killing Joke) and driven by the voice of Dennis Lyxzén of Refused, it pushed punk deep into electronics and turned that collision into something more than a single: a manifesto, a visual world, and the first real blueprint for the band-focused direction that would later lead into Hide
WARP 1.9 Feat. Steve Aoki
Warp 1.9 was the detonation point. Released in 2009 with Steve Aoki, it blew The Bloody Beetroots out of the underground and helped set the scale, violence, and attitude of the EDM era that followed. More than fifteen years later, it still stands as one of the project’s defining records, carrying its impact far beyond the club circuit through film, television, and advertising — from Entourage and Hawaii Five-0 to Hustlers and KFC’s DIY Festival campaign.
CORNELIUS
Released in 2008 on Dim Mak, Cornelius was an early trailblazer for The Bloody Beetroots — just like Butter, it opened the lane for the project to move beyond records and into a wider cultural space. Built on punk ’77, Oi!, electro pressure, and the Westwood–McLaren imagination, it wrapped sound, graphics, fashion, and character into one language, around Jerry Cornelius, Michael Moorcock’s shape-shifting anti-hero. With Turbokrapfen’s artwork, the Sixpack France collaboration, and its crossover into MTV’s Jersey Shore Season 2 launch campaign, it helped establish The Bloody Beetroots as a multidisciplinary force from the very beginning.
BUTTER
Butter was one of the early signals. Released in 2008, it helped push The Bloody Beetroots out of the blog-era underground and into a wider pop-cultural circuit, landing on the soundtrack of FIFA 09 and in MTV’s Jersey Shore Season 2 launch campaign. More than just a club weapon, it showed early on how that sound could cut through games, television, and youth culture without losing its bite.
ROCKSTEADY
Released in 2013 as part of Hide, Rocksteady showed how wide the TBB frame had become. The track pushed the project into more cinematic ground, and the video took it even further — a low-budget road movie shot between Phoenix, Palm Springs, Death Valley, the Salton Sea, and Salvation Mountain, directed by legendary filmmaker and former outlaw Wyatt Neumann.(RIP) Raw, American, and driven by atmosphere, it later found its way into The Equalizer, Elementary, and Asphalt 8: Airborne, proving how naturally The Bloody Beetroots could move across screen culture without losing identity.
SPANK Feat. TAI & BART B MORE
Released in 2013 as one of the key singles from Hide, Spank helped define the album’s more physical and visual chapter. It carried the same sharp mix of impact and attitude that ran through the record, while the video — with Kenny Wormaldat its center — gave the track a stronger body and turned it into one of the clearest statements from that era.
MY NAME IS THUNDER Feat. JET
Released in 2017 on Last Gang Records, My Name Is Thunder became the spark that opened the world of The Great Electronic Swindle. What began in Bassano with Nick Cester grew into a wider collaboration with Jet, stretching across Italy, Los Angeles, and Australia and giving the project one of its biggest and most immediate statements of that era. It carried rock blood, swagger, and scale without losing the pressure at the core of The Bloody Beetroots, then went on to travel even further through major syncs — from Riverdale on Netflix and Animal Kingdom on Prime Video to the Super Troopers 2 teaser, and into videogames like Asphalt 9 and DIRT 5.
OUT OF SIGHT Feat. Paul McCartney & Youth
Released in 2013 as part of Hide, Out of Sight was one of those rare moments where The Bloody Beetroots stepped into a different room without losing its nerve. Born out of a radical rework of material connected to Martin “Youth” Glover and carried all the way through to a final collaboration with Paul McCartney, the track brought a new kind of weight to the project — not softer, not safer, just wider in scale and impossible to ignore. It became one of the defining statements of that era, both musically and in the way it pushed TBB into a completely different league. The limited numbered 7" vinyl remains a sought-after piece for collectors.
KILLING PUNK feat. Bob Vylan
Released in 2025, KILLING PUNK marked a direct collision between The Bloody Beetroots and Bob Vylan — the London duo known for dragging punk, rap, grime, and hardcore through the same fire. The result came out tense, confrontational, and fully switched on. No museum glass, no tribute act. Just a sharp reminder that punk still carries force, danger, and meaning when it is used properly.
