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 is the quintet of genre-spanning remixes. There’s ‘Undying Overrated (Biggabush remix)’ with 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; ‘Orwellian Woman (Medlar remix)’ where Medlar creates a synchro-synth-clap deep disco abstract banger; in ‘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