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 are: 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.
"Pretty damn sophisticated".........IGGY POP
"I’m catching a flight to Hong Kong with one aim — to see these guys".........GILLES PETERSON
"Post-punk sax mingled with ghostly choruses and lo-fi hi-tech electronics...this is a party worth joining".........MOJO
"Both smart and cool".........DJ MAG
"The brilliant Blood Wine or Honey".........TOM RAVENSCROFT
“A unique take on modern dance floor tropicalia...draws the line beautifully between Post-Punk, NY Disco Not Disco and Afro-Latin outernational sounds.".........DOM SERVINI
“Elaborate carnival percussion...riotous singalongs...celebratory brass elements”.........ELECTRONIC SOUND
"Blissful noise...sheer unbridled fun”.........THE 405
"A heady fusion of tribal rhythms, electro-psychedelia, and afrobeat”.........MIXMAG
"Thoroughly welcomes the listener into its samba parade carnival of interweaving drums, chants and saxophone”.........THE ARTS DESK
"Subversive, free-spirited experimentations” .........STAMP THE WAX
released July 5, 2019
Recorded and mixed at Bellows and Component, Hong Kong.
Blood Wine or Honey's distinctive sound is created in the industrial warehouses and hidden rural settlements of Hong Kong,
surrounded by the low-end throb of heavy machinery, the lingering scent of hand sanitiser and the humidity of the South China Sea....more