明天 Tomorrow
by Blood Wine or Honey
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Digital Album
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Record/Vinyl + Digital AlbumBeautiful, limited run 12" vinyl of Blood Wine or Honey's E.P 明天 Tomorrow.
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Tomorrow
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Tomorrow (#normal Remix)
05:36
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about
Hong Kong-based Hypno-tropicalia trio Blood Wine or Honey return with 'Tomorrow', a spirited, gleamingly reflective and instantly engaging future classic. It arrives alongside a rash of remixes from the BWoH vaults, created by Medlar, Biggabush, Fancy Cat and #normal. The EP follows the release of 'Brilliant Pebbles' — a track snapped up for Howie B's legendary Pussyfoot label's lauded relaunch compilation 'Space is the Plaice'.
Loosely referencing Ian Dury's 'Reasons to be Cheerful Part 3', Herbie Flowers' picked slap-back bass, Ethiopic jazz abstractions and a certain Chow Yun-fat classic, 'Tomorrow' is a rhythm-heavy, mantric tropical ritual dressed up in smooth city lights. Evoking super-bright LEDs drenched in monsoon madness and otherworld longing, the track's glacial cool melts into dance-floor heat with de-tuned drums, loved-up sax, big-mood vocals, and dream-like synths.
Then there's the quintet of genre-spanning remixes: ‘Undying Overrated (Biggabush remix)’, shows off Biggabush’s trademark dub-expressionism, giving the surreal lyrics space and pinpointing pops, echoes, and off-beat piano before erupting into a heavy heavy dub-club future-stepper; with ‘Orwellian Woman (Medlar remix)’ Medlar creates a synchro-synth-clap deep disco abstract banger; on ‘Peak Helium IV (Fancy Cat remix)’ the enigmatic Fancy Cat recalls Moodymann's avant-house auras and Blake Baxter's techno spirit. ‘Tomorrow (#normal remix)’
has skewed vocal clips and shimmering atmospherics kicking into huge drums, flipping the rhythm of the title track inside-out, along with bass weight and sampled snatches of vocal and sax refrain. Finally in ‘Loosefoot (#normal remix)' the usually anthemic 'Loosefoot' is transformed into a slow-burning spartan salutation with minimalist echoing percussion and vocal robotics, underscored by a reprise of the ruptured sub-bass of the original.
Blood Wine or Honey is made up of seasoned multi-instrumentalists James Banbury (synths, bass, cello), Shane Aspegren (drums, synths, electronics) and Joseph von Hess (saxophone, percussion, winds). Together they create a witch’s brew of brazen sax themes, lo-fi/hi-tech electronics and motorik drums.
Previous press:
"Post-punk sax mingled with ghostly choruses and lo-fi hi-tech electronics” Mojo
"A heady fusion of tribal rhythms, electro-psychedelia, and afrobeat” Mixmag
"Brilliant...a stimulating blend of tribal rhythms, electro-psych, and afro-beat" Tom Ravenscroft
"I’m catching a flight to Hong Kong with one aim — to see these guys" Gilles Peterson
Loosely referencing Ian Dury's 'Reasons to be Cheerful Part 3', Herbie Flowers' picked slap-back bass, Ethiopic jazz abstractions and a certain Chow Yun-fat classic, 'Tomorrow' is a rhythm-heavy, mantric tropical ritual dressed up in smooth city lights. Evoking super-bright LEDs drenched in monsoon madness and otherworld longing, the track's glacial cool melts into dance-floor heat with de-tuned drums, loved-up sax, big-mood vocals, and dream-like synths.
Then there's the quintet of genre-spanning remixes: ‘Undying Overrated (Biggabush remix)’, shows off Biggabush’s trademark dub-expressionism, giving the surreal lyrics space and pinpointing pops, echoes, and off-beat piano before erupting into a heavy heavy dub-club future-stepper; with ‘Orwellian Woman (Medlar remix)’ Medlar creates a synchro-synth-clap deep disco abstract banger; on ‘Peak Helium IV (Fancy Cat remix)’ the enigmatic Fancy Cat recalls Moodymann's avant-house auras and Blake Baxter's techno spirit. ‘Tomorrow (#normal remix)’
has skewed vocal clips and shimmering atmospherics kicking into huge drums, flipping the rhythm of the title track inside-out, along with bass weight and sampled snatches of vocal and sax refrain. Finally in ‘Loosefoot (#normal remix)' the usually anthemic 'Loosefoot' is transformed into a slow-burning spartan salutation with minimalist echoing percussion and vocal robotics, underscored by a reprise of the ruptured sub-bass of the original.
Blood Wine or Honey is made up of seasoned multi-instrumentalists James Banbury (synths, bass, cello), Shane Aspegren (drums, synths, electronics) and Joseph von Hess (saxophone, percussion, winds). Together they create a witch’s brew of brazen sax themes, lo-fi/hi-tech electronics and motorik drums.
Previous press:
"Post-punk sax mingled with ghostly choruses and lo-fi hi-tech electronics” Mojo
"A heady fusion of tribal rhythms, electro-psychedelia, and afrobeat” Mixmag
"Brilliant...a stimulating blend of tribal rhythms, electro-psych, and afro-beat" Tom Ravenscroft
"I’m catching a flight to Hong Kong with one aim — to see these guys" Gilles Peterson
credits
released July 5, 2019
Recorded and mixed at Bellows and Component, Hong Kong.
Recorded and mixed at Bellows and Component, Hong Kong.
license
all rights reserved
tags
about
Blood Wine or Honey Hong Kong
Blood Wine or Honey hone their mantric afro-bitten electro-psychedelia in the industrial warehouses of Hong Kong, surrounded by the scent of dried fish, the throb of heavy machinery, and the torrid humidity and heat of the South China Sea
discography
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Jul 2019 -
Jun 2018 -
Nov 2017 -
Apr 2017