
Three One G is in a sense, a family owned business…and basically a family in itself. I started the label in hopes to better the quality and creativity of things  that I was part of, as well as the music culture that I am part of. Three One G quickly developed into a family of artists who were all intertwined, or on the same page as one another. For me, it is the truest definition of family; people who are of the same breed and people who are from the same way of life. In the beginning, I started off by releasing music by Swing Kids and Unbroken, both of which shared a member, and were part of a musical community that I was submerged in. It was something that I was really a part of and more so, something that was obtainable, tangible, and real. Over the years, Three One G has loosely been related to a band that I’m part of, and better known for, The Locust. The relevance that The Locust had to Three One G brought amazing artists into the picture, either through meeting them on tour, musical collaborations, or other various things that The Locust was doing. This really helped to diversify the label and the sounds that it encompasses up to this day. To me, having bands under the Three One G umbrella like Cattle Decapitation, Arab on Radar, Quintron, Zs, Black Dice, Orthrelm, and so on, all makes sense, regardless of how different any artist's approach to music or their sound may be. We could all conceivably tour together, even sometimes collaborate and share members. To me, this is interesting, bringing so many new avenues of creativity, which are things that the music industry in general has since forgotten. 
The family members who currently make the wheels spin for Three One G, aside from the actual bands and artists are; Sal Gallegos (who also played in Some Girls, which were comprised of members of other label mates such as The Plot to Blow Up the Eiffel Tower, and Unbroken), as well as myself. Over the years we have expanded, not only musically, but geographically as well. Even though Three One G is below the radar of the who’s who of labels, the bands manage to grow and reach out beyond the label’s grasp, giving a glimpse into the all too interesting underbelly of an unrefined culture. The bands manage to amaze, challenge, inspire, and essentially blow minds. The labor of love here shows sincerity, as well as integrity. The family here is solid, legitimate, and is here to stay.
 
- Justin Pearson

FUZZ ORCHESTRA mixes heavy rock sounds with a fluxus of analog noises and a narrative layer build up by voice samples borrowed from old movies and documentaries. Lots of forgotten masterpieces lie in the vast sea of the cultural production from the past, and some of their voices are still true today.
Every FUZZ ORCHESTRA album uses these voices to tell his own tales and stories: “Fuzz Orchestra” (2007) was about some of Italy's most infamous moments of its contemporary history: fascism and late 60's/70's State terrorism; “Comunicato n°2” (2009) gives voice to those who tried to revolt against the inhuman capitalist world order. “Morire per la patria” (2012), which sees the entry of Paolo Mongardi (ZEUS! - Three One G Recordings, Jennifer Gentle - SubPop) on drums, describes and critizes different ways of “Dying for your own Homeland”, from the defense of the borders during the war to the selling of one's soul to gain power and material richness.
Our new record, “Uccideteli tutti, Dio riconoscerà i suoi”, tells tales of Revelation, Judgement and Choice; it takes you through different kind of Apocalypses: social ones, personal ones, profanes ones and sacred ones.
“Uccideteli tutti, Dio riconoscerà i suoi” also takes Fuzz Orchestra's music to a new level, putting together heavy rock patterns with contemporary music scores written by Enrico Gabrielli (Mike Patton's Mondo Cane, PJ Harvey and many more).

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