Producer Sessions 013: The Bloody Beetroots release a ‘Heavy’ extended play of new sounds [INTERVIEW]

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Producer Sessions 013: The Bloody Beetroots release a ‘Heavy’ extended play of new sounds [INTERVIEW]Enlight329

Sir Bob Cornelius Rifo, better known as the brainchild behind The Bloody Beetroots, has released his new Heavy EP. The Italian musician teased his new extended play with two collaborations: one with G-House hero, Dr. Fresch, called “Fkn Face,” that throws down as hard as the name implies and the other with Ephwurd, “Wildchild,” featuring heavy electro bass mayhem with guitar fills.

The Heavy EP is the first project since The Bloody Beetroot’s The Great Electronic Swindle in 2017, which merged rock elements with electronic music for a more electronic take on heavy metal.

Rifo took some to answer some questions about producing the EP.


What made you take the EP in this direction?

I felt the need to steer the project into a more electronic space. I love experimenting with new genres and finding a sound that belongs to me. That really resonates.

Did you have any inspirations for the album?

Just the music. It always drives me. I really explored with the new contemporary electronic texture and mixed it with the original TBB sound. I had a lot of fun.

What made you chose your collaborators?

Innovation and originality. The guys are on the EP are great!

Do you have a typical production process? If so, what is it?

I hate being in the studio for more than two hours a day. I’m a musician first and producer second, so all my ideas come by talking to people and living a life full of passions and hobbies. I start with a story, then I randomly mess around with synths and samplers on Ableton until I get a solid draft. That’s the foundation and I move from there.

What song took you the longest to make and why?

I don’t like to overthink it. I prefer to get straight to the point and feel it. The Heavy EP was quick to do. It’s simple, effective, and I wanted something to serve and support my DJ set. My collaborations with Dr. Fresch & Ephwurd were quick as well. They’re amazing producers with a lot of empathy for real music.

What was the most difficult melody to conquer and why?

I believe I spent more time with my graphic designers choosing the right artwork instead of overthinking on the perfect melody. I don’t know how to explain that, but music is very natural for me. It’s in my blood and it comes out so easily that i can’t even find the right words to express how I feel about it. It’s me, I guess.

What was your most memorable in-studio moment while producing the EP?

Definitely in the studio with Dr. Fresch. He didn’t have a functional keyboard to play. I was so bummed out, but he managed to make it work like a pro. Immediately following, I wrote that “Fkn Face” bassline with a smile on my face. Thank you, Tony.

Do you have any unique studio habits?

I like jamming before I start anything serious, and sometimes, I forget to open a session because I get lost in the jamming.

What hobbies do you have outside of music?

I have a second job as a photographer (thecultofrifo.com)—I’m also a certified CrossFit trainer Level 1. I like riding cars and motorbikes. Sometimes, I like to go to BBQs with friends.

What was it like creating the music you make in your in the small town of Bassano del Grappa?

I moved to LA three years ago, Venice Beach precisely as it feels like a small town. Bassano Del Grappa is where I spend my free time to recover from all this crazy business. It’s sane, it’s small, it’s cozy, and I love it.

What is your next endeavor as The Bloody Beetroots?

I’m excited to see where this new electronic journey will take me.

Photo credit: Chris Stack

Lunar Lunes: Kill The Noise and Mija bring ‘Salvation,’ The Bloody Beetroots and Ephwurd team up + more

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Lunar Lunes: Kill The Noise and Mija bring ‘Salvation,’ The Bloody Beetroots and Ephwurd team up + moreBloody Beetroots Ephwurd

Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.

Kill The Noise and Mija jump-start this post-EDC Monday with a formidable new collaboration, “Salvation,” and The Bloody Beetroots and Ephwurd deliver a powerful electro number in “Wildchild” from The Bloody Beetroots’ forthcoming Heavy EP. Honey & Badger and kramder return to Tchami’s CONFESSION for a groovy new track, “Da Pinte,” and Just a Gent makes “First Contact” in his new single. Wuki and Ship Wrek take on Daft Punk’s iconic “Technologic” in a new “Wukileak,” and Shaun Frank teams up with Lexy Panterra for “Where Do You Go.” Dombresky remixes LSD’s “No New Friends,” and the Nervo sisters are “Sober” in their new single. Summer Was Fun brings a fun summertime atmosphere in his new track, “Frozen in Time,” and BLEEP BLOOP flips Vince Staples’ “GTFOMD.” Joris Voorn delivers a radio edit of “RYO,” and Slow Magic takes on hit song “Old Town Road.”

The selection is updated every Lunes (Monday).

NMF Roundup: Diplo and Tove Lo team up, i_o reveals fiery ‘Death By Techno’ EP + more

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NMF Roundup: Diplo and Tove Lo team up, i_o reveals fiery ‘Death By Techno’ EP + moreDiplo Tim MosenfelderGetty Images

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

Diplo continues to flood the music world with new tunes of all genres—the latest of which is a sultry house collaboration with Tove Lo. A-Trak, too, has been releasing a slew of new tunes, including a groovy remix of Axwell‘s “Nobody Else.” Fans of the deepest depths of bass will rejoice at the release of i_o‘s Death by Techno EP on mau5trap, and Ephwurd and Shapes join forces on “Desires.” Flava D puts her own scintillating spin on Anna Lunoe‘s “303,” and TOKiMONSTA casts a soothing spell on “Dream Chorus.” Nitti Gritti and Gammer release their highly anticipated “Underdogs,” a day after the tune premiered on Dancing Astronaut, and The Him tap Maria Hazell for melodic masterpiece “Found Me.” The Midnight bring the early ’90s back with “America Online,” and Wolfgang Gartner kicks up the intensity on “28 Grams.” Sick Individuals‘ new tune, “We Got It,” leads perfectly into the weekend, and Sullivan King and Kai Wachi take no prisoners on the formidable “Between the Lines.” Dimension returns with another drum ‘n’ bass masterpiece in “Devotion,” and STANDERWICK combines elements of rock and trance in “Never Gonna Step Down.”

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Photo credit: Tim Mosenfelder

‘If you really love something you push forward,’ Ephwurd on restarting the project as a solo venture after Datsik fallout [Interview]

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‘If you really love something you push forward,’ Ephwurd on restarting the project as a solo venture after Datsik fallout [Interview]Ephwurd 1

Just a handful of years ago, as bass house was weaving its not-so-subtle stylings into the worldwide electronic anterior, Ephwurd was swiftly ascending as one of the genre’s most exciting forces. Fielding a shredding, high-impact sound design and securing a wall-to-wall library of festival bookings, Ephwurd’s Basie Hauser and Troy Beetles (Datsik) were locked and loaded at the turn of 2017 to renew their rapidly accrued success heading into 2018.

But their momentum would soon flatline as resolutely as it began. Rumors of Datsik’s sexual misconduct gave way to full-fledged testimonials aimed at the Firepower Records label founder, spanning years of alleged abuse. Datsik stepped down from Firepower, his representation dropped him; and nearly overnight, the Ephwurd project came to an emphatic halt. Hauser promptly cancelled all performance stops and rightfully opted to take some time off to recalibrate.

“It was heartbreaking,” Hauser tells Dancing Astronaut. “There was a lot going on. When all that stuff happened I was like, ‘Okay let’s take a step back, reevaluate everything, and go from there.’”

A year later, Hauser is picking up where he left off—well, sort of. Describing the project’s relaunch as a solo venture, Hauser says he has every intention of perpetuating the bass house heart of Ephwurd into the revamp, though he’s keen on dousing it in more non-electronic experimentation. Born into a musical family, Hauser discovered firsthand and at a ripe age what success looked like in such a wildly competitive industry. His father, Tim Hauser, was a member of the Grammy-winning jazz ensemble, The Manhattan Transfer.

While resolving to keep the project alive as a one-man show, Hauser has allowed for time to rectify some of the residual apprehension surrounding the Ephwurd masthead. Since the Datsik news broke in March of 2018, Hauser has released just two Ephwurd-branded tracks: the uncharacteristically emotive, “Everywhere I Go,” and the aptly named collaboration with SWAGE, “Hectic,” which arrived early February.

The former came equipped with a letter to his fans last July, in which he addresses the claims brought against his former partner and the ways in which he and those associated with the project felt the reverberations directly.

“…Within hours after the news broke, everything we worked so hard to build had completely fallen apart…

Next to losing my father, those first few days were some of the hardest I’ve ever faced. I didn’t want to see or talk to anyone.

As for the accusations against Troy, that’s not the guy I know. Coming to the mutual agreement of removing him from the project was a heart-wrenching day for me, but it had to be done. I am respecting his decision to stay private and wish the best for him…” wrote Hauser.

Today, the “Check It Out” producer says his pipeline is brimming with new material. As of now, he’s putting finishing tweaks on 20 odd tracks, many of which will see release in coming months. His main goals: making sure the genre-specific sound doesn’t become too “stale,” and bringing Ephwurd’s former glory “up to date,” by way of borrowing from formerly untapped inspiration.

“I want to experiment with [genres], be it sampling old jazz or funk records or coming up with chord progressions that can be applied to bass house,” Hauser says.

A scandal of much lesser proportions than Datsik’s could be liable to end the career of all those formerly associated with the accused. But, for Hauser, turning the lights out on the Ephwurd project, which he affectionately deems his “baby,” was never an option. Despite any contention left in its wake, Hauser does not see Ephwurd as beyond salvaging. In fact, his perspective is quite the opposite.

“I thought about it for a long time,” Hauser says of his decision to breathe a second wind into Ephwurd’s sails. “At the end of the day, I put in so much time to this project: literally blood, sweat, and tears. I love this project… If you love something, you nurture it and you don’t just leave it. If you really love something you push forward, and deal with the good and bad and try to persevere.”

Below is a lightly edited transcript of Dancing Astronaut’s conversation with Basie Hauser on the future of Ephwurd. The interview was modified for clarity and readability.

Tell us about how you started making music, where did your journey begin?

My dad was actually a vocal singer in this group called The Manhattan Transfer. He ended up becoming an accountant and hated it so much that he quit his job and became a taxi driver, singing on the side. Eventually he started this group, The Manhattan Transfer, which went on to be nominated for/win like 16 Grammys.

I grew up traveling the world with him, going to jazz festivals, meeting all these legendary jazz performers. I’ve always been immersed in music. I like jazz, but it was never my favorite genre of music. Around high school, you know that time when you really discover what music you like. Everybody hears the Beatles or something and gets this immediate reaction like ‘Oh my God! This is amazing.’ For me that was when I heard Aphex Twin. My first time hearing electronic music was the likes of SquarePusher, Boards of Canada, these like early ’90s Warped Records artists. I went from hearing rock ‘n’ roll and jazz to this crazy production I’d never heard before.

Bit by bit, I started doing my research and finding elements like ‘Oh, I wonder what sampler this guy used to make this.’ This is before Ableton or Logic or DAWs were widely adopted by people. It was cool because I started learning a lot about analog synths and old samplers, kind of just figuring it out from there. And near the end of high school I discovered Ableton and I’ve been on it ever since.

Ephwurd experienced a huge upward swing in 2017. How do you plan to regain that momentum now as a solo venture?

Making as much music as possible. I’ve taken almost a year off now and every day now I’m either in the studio or even if I’m just lying in bed, I’ll have my laptop with me coming up with ideas to take to the studio later. At the end of the day music is the most important thing, and the more you have of it the better. I think consistently putting out content will probably help. Back in 2017 we were writing a ton of content and I think that’s what helped us so much. As long as you’re constantly making music you love, you just hope people will listen and follow.

Stylistically, what changes can we expect?

I want to keep the heart of the Ephwurd sound intact, but introduce new ideas; evolving as an artist always involves that. I’ve always loved funk music, so I want to experiment with that—be it sampling old jazz or funk records or coming up with chord progressions that can be applied to bass house. Finding ways to bring those genres to bass house. Experimentation is the key to growing, so I hope to do that for the rest of my life.

A genre gets stale if you hear the same thing so many times.

What forces drove your decision to continue producing under the Ephwurd masthead despite the potential risk of contention?

I thought about it for a long time. At the end of the day, I put so much time into this project: literally blood, sweat, and tears. I love this project; it’s my baby. If you love something you nurture it and you don’t just leave it. If you really love something you push forward, and deal with the good and the bad and try to persevere.

When the allegations against Datsik surfaced, and compelled you to step back for a while, how did that affect you individually?

It was heartbreaking. I decided Ephwurd had to cancel all [our] shows and to kind of take that time to regroup and rebuild everything. I think it’s been one of the healthiest things for me because I got to take the time to just be a human—taking the time with my family and friends, not just touring. I’d been on the road for the past six years, and it’s exhausting. The time off was a godsend because I was able to keep working on music and discover new things about myself. I’m actually really appreciative of it.

What can we expect from the revamp in 2019?

There’s a lot of stuff in the works, in terms of new music. From the past six months I have like 20 tracks that are finished but I want to make sure they’re the best they can be. You can expect a lot more music. New sounds and the old sound too, but bringing it up to date.


Hauser has asserted that he and Datsik split up the DJ/production work evenly; regardless, a segue to manning a solo act stands as a momentous task even without such a controversial catalyst. Fortunately for Hauser, he has industry know-how, unequivocal resolve, and redemptive battle wounds in his corner, affording him a chance to take back the success he only just began to taste back in 2017.

NMF Roundup: deadmau5 delivers ‘mau5ville: Level 3,’ Lane 8 returns with ‘Visions,’ Galantis and OneRepublic team up + more

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NMF Roundup: deadmau5 delivers ‘mau5ville: Level 3,’ Lane 8 returns with ‘Visions,’ Galantis and OneRepublic team up + moreDeadmau5 Mr Bill

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

deadmau5 has returned to deliver the third installation in his thrilling mau5ville series, bringing with it a seven-minute opener called “Polyphobia.” Galantis and OneRepublic team up for the easygoing “Bones,” and SNBRN drops off slow-burning “Never Let You Go.” Lane 8 and Rbbts pump their latest, “Visions,” with emotions, as does Dabin with his brand new “Alive.” DROELOE deliver their first original of the year, “Only Be Me,” and Ephwurd cranks up the heat with his new “Hectic” collaboration with SWAGE. Alok and Timmy Trumpet bring their talents to Spinnin’ Records with “Metaphor,” and CAZZETTE take on Midnight Kids‘ “Serious” with Matthew Koma. Win & Woo tap the enticing vocals of Kaleena Zanders for their new single, and Crystal Skies exhibit their flawless melodic dubstep style in “Never Change.” Snakehips bring Rivers Cuomo aboard for their new “Gucci Rock N Rolla” with KYLE, and R3HAB tries his hand at remixing Kygo for the second time with a grooving take on “Happy Now.”

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Photo credit: F. Scott Schafer

Ephwurd samples The Beastie Boys on earth-shaking ATRIP collaboration, ‘Check It Out’

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Ephwurd samples The Beastie Boys on earth-shaking ATRIP collaboration, ‘Check It Out’Ephwurd Atrip Check It Out Collab Single

Datsik‘s inevitable departure from Ephwurd hasn’t stopped Bais Haus from carrying the project forward as a solo act, with the ultra smooth summer jam “Everywhere I Go” serving as a first step earlier this year. Now, Ephwurd returns to the more explosive side of house with the ATRIP-assisted “Check It Out,” arriving via his own Eph’ed Up Records imprint.

Lingering on a deliciously menacing intro featuring distorted guitar strums and instantly recognizable Beastie Boys chops, the track forecasts a heavy dose of bass early on. The delivery comes fast and furious with a rumbling drop that builds layer after of layer of head-knocking percussion. ATRIP’s grimy sensibilities are the perfect addition, keeping things crackly, maintaining a driving appeal across the entire track. If “Check It Out” is any indicator of Ephwurd’s momentum as a solo venture, it’s safe to say the future is bright and bass heavy.

Introducing Lunar Lunes: DA’s new weekly SoundCloud playlist

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Introducing Lunar Lunes: DA’s new weekly SoundCloud playlistLunar Lunes E1540831560592

Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes will be a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.

This week’s Lunar Lunes is highlighted by 25 new tunes from artists like Wolfgang Gartner, i_o and No Mana, CURBI, Luca Lush, and many more. Win and Woo channel warm summer days in their latest, “Satisfied.” Black Coffee and Aquatone have remixed AGORIA’s “Embrace” to craft a mellow, peaceful environment. Melodic dubstep aficionado Au5 tackles Celldweller’s “Eon” in an interesting turn of events. Justin Caruso taps Jake Miller for a pop-friendly original, “Don’t Know You” on Big Beat Records. Ephwurd teams up with ATRIP to sample Beastie Boys’ iconic “Ch-Check It Out” in a bass-laden house track. Jaenga melds dubstep and elements of drum & bass in his take on Zeds Dead and 1000 Volts’ “Kill Em.”

The selection will be updated every Lunes (Monday).

Ephwurd releases lyric video for ‘Function’ [WATCH]

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