Red Giant is:
Damien Perry: Lead Guitar, Vocals
Alex Perekrest: Lead Vocals, Guitar
Brian Skinner: Bass
Eric Matthews: Drums
Recorded and mixed by Benny Grotto at Mad Oak Studios, Allston, MA.
Additonal recording by Damien Perry at Sonic Shrine Studio, Cleveland, OH.
Produced by Benny Grotto & Red Giant.
Mastered by Chris Goosman at Baseline Audio Labs, Ann Arbor, MI.
Illustration & album artwork by Alexander von Wieding.
Hello, Cleveland! Red Giant returns to the scene of the crime after a six-year absence with a cosmically enhanced desert rock dust-up entitled DYSFUNCTIONAL MAJESTY. This time around, this quartet balance out their gargantuan galactic explorations with servings of teeth-gnashing stoner metal (“Silver Shirley”) and hard-nosed and dirty blues boogie (“Million Point Buck”, “It Doesn’t Seem Right”), creating a tight and heavy batch of tunes with a solid rock backbone and the propensity to launch into the stratosphere at any given time. Red Giant’s pent up aggression rears its wrath from tip to tail on this endeavor, displayed strongest via the cavalcade of fierce yet fuzzed out guitars expertly trading off between waves of soulful soloing and locking into indomitable grooves (“Lamentations”, “Easy, Killer”). Welcome back, boys!
- Mike SOS
Red Giant got my immediate attention with their great Love Gun album rip off cover artwork. Even better is the disc contained inside. Dysfunctional Majesty is their first album in about 6 years. Sounding like a really pissed off Clutch, it rocks hard right out of the gate. Crushingly heavy riffs combined with angry, strangulated vocals and frenzied drumming. Fire this one up in the car after a shitty day at work and defy the cops to pull you over. There’s even a good version of AC/DC’s “Let There Be Rock” as a secret bonus track. Can’t go wrong with this muther.
Hey, hey, hey...it's the return of the jolly Red Giant. This is my second attempt at reviewing 'Dysfunctional Majesty' the first attempt ended in disaster as I sat through an album of instrumental tracks that left me feeling like something was missing. It didn't sound like an instrumental album to me. It sounded like an album of backing tracks. At least my ears weren't letting me down because that's exactly what it was. Bizarrely I'd received a karaoke version of the album. But without lyric sheet and no idea of the song melodies I was left crying into my sake. Step forward vocalist and guitarist Alex Perekrest to fill in the blanks.
Not surprisingly this time around is a far more satisfying experience. Alex's voice is punchy, raunchy and gritty. Although Red Giant are described as Stoner Rock this sets them apart straight away from say Queens Of The Stone Age and puts them more in the Raging Slab / Danko Jones bracket.
The cover artwork of 'Dysfunctional Majesty' is a twisted homage to Kiss' Destroyer album. Whilst not at all similar to Kiss musically there is buried deep within opening track 'Chopper' a kind of Kiss' signature riff but you'd have to be observant to notice it so fleeting it is.
'Never Touch The Lens' runs through the gears of double time, half time - half that again, double bass pedals with dual layered Di'Anno-era Maiden guitar riffage - a melding of drop-tuned Stoner Rock with NWOBH riffs. The vocals may appear a little low on this one but it's clear that this song belongs to the riff and to the mosh pit.
'Easy, Killer' manages to get under my skin with a highly contagious groove. It's based on a standard blues shuffle but the band manage to infuse it with a growling monster groove that otherwise would have me hating this track. Unusually for a twin guitar band the wah solo is not backed up by the second guitar so evoking a classic 3-piece no-overdubs type feel. 'Season Of The Bitch' however isn't a good choice to follow 'Easy, Killer'. It's a bit too similar in groove and tempo and you'd be forgiven for mistaking it for 'Easy, Killer' part II.
'Million Point Buck' is another groovy infectious song containing some nice chordal work reminiscent of King's X, Sabbath and Soundgarden. Vocally though it couldn't be further away. Try something rawer. Try pre-Patton Faith No More or perhaps even The Rollins Band. The band move back into early punky Iron Maiden territory for 'Silver Shirley' clearly relishing the freedom of the seven minute track to riff out - three minute pop songs these are not.
And with half an hour and half of the album behind us Red Giant are clearly in the groove and they're not about to get out of it. The second half is as good as the first but it's the sheer length of the album that does me in and Red Giant give no quarter. The riffs keep on a-coming. The band are a steamroller and I feel like the tarmac - a pliant sticky black goo. I tell you one thing. You couldn't listen to this in a traffic jam and not go all Michael Douglas on someone's ass.
Even so there are highlights to the second half. 'These Satisfactions Are Permanent' has a slightly different dynamic to it. There's a bit more space, a bit more vocal and a bit less fuzz. It has a spring in its step. And talking of steps 'Lamentations' has me imagining this track on 'Strictly Come Dancing' - perhaps with Bruce Forsyth himself taking to the floor. Trust me. It would work. Completely out of context and twisted yeah - that's what would make this great.
And finally I get the instrumental I've been waiting for all along in the shape of 'Weird Problems'. It's like Christmas come early. And, expecting a second instrumental in the form of 'Super Secret Bonus Jam', I'm sorely mistaken. It is not at all what it says on the tin. It is in fact a cover but as it's super secret I don't know whether to let you know what it is. Let me mull it over. I'll get back to you...
- Russ P
Metallica’s transition from the genre-solidifying Master Of Puppets to the arena-ready hard rock of Load and Re-Load was a jarring experience for longtime fans still clutching their denim vests. The problem wasn’t that they put out those (ultimately multi-platinum) records, but that they had the audacity to call them Metallica albums. Between you and me, if Load had been the debut of any other band, it’d have been hailed and praised. That’s sort of how I’ve come to view Red Giant: an alternate reality version of what Lars and the boys might’ve done if unburdened of their obligations to thrash. The twelve tracks on Dysfunctional Majesty, the Cleveland, Ohio band’s second album for Small Stone Recordings, sound like James Hetfield fronting Monster Magnet, which I assure you is as balls-to-the-wall awesome as that analogy suggests. It’s another headbanging good time from the same label that brought you Gozu and House Of Broken Promises.
- Gary Suarez
You simply cannot front on the way these guys combine riff and rhythm. The guitar licks are like non-Euclidian polygons, and listening through a song is like navigating a three-dimensional construction of an MC Escher drawing. This has always been the case, however much the band has mutated from it's sprawling "take you on a journey" approach into succinct "melt your brain with a laser" methodology.
The first two albums took the early-Monster Magnet approach to production, meaning that there are tons of moments with like 2000 guitars tripping the fuck out. They did it well, and particularly Ultramagnetic Glowing Sound (1999) stands out as a masterpiece of obsessive production. Yet this wasn't the true Source of Red Giant's Power, as first revealed by Devil Child Blues (2004).
The songs were a bit shorter, the guitars and vocals less effects-laden, but when you listened to it you clearly had made the jump to hyperspace. You just don't find sonic constructions like this in a mere three dimensions. As a rabid fan of Ultramag, I admit I was a conflicted listener. I somewhat missed the occasional 10 minute epic, the greater variety in tempo, etc. Yet it was clear that Red Giant was getting closer to their essential Red Giant-ness, constructing music out of the elements they found most exciting and immediate.
Any hesitation I had about the stripped-down direction these guys are taking has been completely obliterated by their new disc, Dysfunctional Majesty. This fucker oozes enthusiasm out of every pore. The conviction with which these songs are presented hints at total mastery over the group's unique songwriting prowess. It truly is the wall-to-wall ear candy they have been striving to achieve.
Let's first consider the track "Million Point Buck". It's verse riff is sort of a sequel to the previous album's title track, yet it's a more complete melodic entity. A beautiful pentatonic phrase, the band could simply repeat it for 6 minutes and call it a day with no complaints from me, whereas "Devil Child Blues" required some clever tempo-trickery to sustain its momentum. Yet it doesn't seem to be in Red Giant's character to simply sit back and let a song write itself, and sure enough they intersperse that shit with orgasmic shards of lead guitar, and resolve it into an epic grind of spacey arpeggios.
By the time you got to "Buck", however, you already listened to the first four tracks and were blown away. "Chopper", "Easy, Killer" and "Season of the Bitch" all have an important point in common to make, which is that lead singer/rhythm guitarist Alex Perekrest is laying down the vocal performance of his career. There's a newfound confidence at work here, and we are treated to several instances of the instruments scaling back to put the voice front and center. The bravado with which Perekrest delivers the a capella passage in the blues^2 romp "Easy, Killer" simply chills and smolders. On Monster Magnet's classic Spine of God, Dave Wyndorf bellowed with impunity. Imagine Wyndorf with a richer set of vocal chords and you get the idea of where Perekrest is coming from.
"Never Touch the Lens" makes a slightly different point, which is that the schizo speed-metal of last album's "John L Sullivan" was no fluke. It's the disc's most relentless, blistering track, full of riffs at war with one another, jockeying for position to be the one that tore your face off. Most of them succeed. It also hints towards how badass is the rest of the album, since this is only the second track and somehow doesn't steal the thunder from everything that follows. "Silver Shirley" is an unexpected seven-minute dirge that demonstrates Red Giant's ability to stretch things out and still maintain movement at each moment, culminating in a berserk horn solo over a "How to Handle a Rope"*-esque riff.
That's probably as far as you got the first listen through, because there is simply too much content to process in one go. Given time to assimilate, you return to brave the final six tracks and do not find them lacking. "Herds of Something Else" boasts the band's catchiest melodic guitar phrase since Ultramag's "Floor Girl", and schools you further on how to permutate and fractalize rhythms to brilliant effect. "Lamentations" takes a step back for a spell with a comparatively straightforward guitar arrangement, giving our brains the chance to breathe before the album's climax, which we'll get to in a moment. "It Doesn't Seem Right" juggles Atomic Bitchwax-esque blues noodling with power chords that swing hard enough to give you whiplash. "These Satisfactions Are Permanent" Pentagrams it up with a menacing, stuttering riff, giving way to the requisite celestial guitar wizardry.
Which brings us to "Weird Problems", the centerpiece of the whole affair. Delicately entwined lead guitars blast off to such heights that listening to this song is likely to give you vertigo. It's mostly the same lick throughout, but every repetition is coupled with elaboration, and the intensity soon overwhelms. Upon reaching critical mass, the track literally supernovas, resolving into a levitating monk/dancing Shiva passage. Despite zig-zagging like an X-Wing dogfight, this is the eye hurricane, the moment of clarity, possessed by a stillness, a majesty, a wisdom, and other adjectives that you wouldn't think applied to music (but clearly do in this case). This is the track you beg them to play at a show.
Red Giant closes things out with a legit cover of "Let There Be Rock" done completely straight. Apparently there's some controversy about this song being out of place. I suppose if an AC/DC cover is the biggest beef to be had then we're in good shape.
Cleveland, Ohio shitkickers Red Giant are here to do BUSINESS. RAWKIN' is their business, and their business is RAWKIN'. Make no mistake my friends, Red Giant know EXACTLY how to rock and they do NOT let up.
With 12 tracks totalling over an hour, 'Dysfunctional Majesty' is certainly giving you more bang for your buck, and the quality of the rock on display is of the HIGHEST calibre. Fans of Clutch, Hellacopters, Supersuckers and Unida should hitch their wagons to Red Giant, as this band is RIGHT up their dirty back-alley.
Red Giant is all about fuzzed-up acetylene blowtorch guitars, depth-charging bass, driving drums and rocktastic bourbon soaked vocals. Their riffs are full-on ROCKIN' but can get as psychedelic as you want to be – such as on the Tool-esque 'Million Point Buck', with its chiming, snaking fuzz-wah guitar and stealth bass, and on the slothfully swinging 'Silver Shirley', containing as it does, echoes of a filthy Soundgarden at their doomiest, some truly beautiful lysergic guitar and bass interplay and an absolutely NUTZOID Stooges-style sax 'goose in a windtunnel' freakout – and these tunes have real depth to them – this isn't just balls-to-the-wall dumbass rock-rock-rockin' for the sake of it.
'It Doesn't Seem Right' conjures up thoughts of Unida, with its supremely Garcia-esque vocal refrain. 'These Satisfactions Are Permanent' is like an outtake from Clutch's 'Elephant Riders' – all throaty, gruffly commanding vocals, rhythmic interplay and lithely slippery quicksilver lead guitar – whereas 'Herds Of Something Else' slunks menacingly around, with its low-slung bass-driven groove threatening to devolve into violence at any minute, but instead breaking down into a syncopated QOTSA/Helmet fuzz-groove over which vocalist/guitarist Alex Perekrest howls like a rutting wolf in mating season.
The Tool feel rears its head again during instrumental penultimate track 'Weird Problems', in which the surging bass of Brian Skinner and the taut drums of Eric Matthews push the entwined guitars of Perekrest and lead guitarist Damien Perry into tricky yet graceful shapes, then use the gravity of their own momentum to pull them both back down to earth and into a headache inducing display of fuzzy syncopation. The track pulls and pushes both guitars hither and yon, before climaxing in a dazzling aerial display of perfectly controlled wah-abuse.
How to follow THAT? How about a cover of AC/DC's perennial classic 'Let There Be Rock'?
So there you have it. The rock doesn't let up, and quite frankly, you don't WANT it to when it's THIS damn good. Red Giant successfully rocked me like a hurricane for over an hour, and NOW I'm goin' back for sloppy seconds. I urge y'all to do the same and go get rocked by Red Giant!!
It's now five years since the release of RED GIANT's last album 'Devil Child Blues', but they have not forgotten how to write ass-kickin songs. Quite the opposite in fact. 'Dysfunctional Majesty' (released through Small Stone Records in 2010) is a huge step forward, not just due to the band's powerful performance. Especially guitarist Alex Perekerst proves once again that his expressive vocals and strong pipes are the icing on the cake. It's not that I want to talk badly about the other three guys, but Perekerst's cuting badass style is a shape-giving mould in the band's well equiped arsenal. This guy is definitely an underrated talent. But as a whole, Cleveland's RED GIANT deliver a great album with a high rate of killer songs. With the opener 'Chopper' they demonstrate their will to attract the listener's attention right from the start. And they don't fail to do so. To be quite frank, it's one of the best opening tracks I've heard in a long time.
The guitar work of lead guitarist Damien Perry contains battering heavy riffs and blistering solos while the rhythm section, consisting of drummer Eric Matthews and bassist Brain Skinner, is tight and provides the necessary punch on the song. The same might be said for the remaining eleven tracks, but 'Chopper' is doubtless one of the highlights of 'Dysfunctional Majesty'. 'Silver Shirley' emits a menacing vibe and surprises not only with a trippy middle section, but also with an additional sax. But this is not the only surprise. 'Never Touch The Lens' makes no effort to hide its thrash metal influence, but also in other respects RED GIANT has integrated more metal splinters into their blues-driven hardrock. And even though this guys love their 1970's rock, 'Dysfunctional Majesty' is definitely no trip back in time. It's more a tastefully arranged combination of everything that rocks hard, regardless of the decade. The blues is also an important part of RED GIANT's heavy sound and sometimes you can find traces of southern rock, ranging from Blackfoot to early Alabama Thunder Pussy.
This time as well, they do a cover version of AC/DC's 'Let There Be Rock', which fits perfectly with the rest of album. Basically, it sounds like one of their own songs, which is a good sign. However, I must also say that they don't beat the cover of The Hard Ons & Henry Rollins, but none the less it's a good effort. 'Dysfunctional Majesty' is rounded off by a funny modification of Kiss' 'Love Gun' cover artwork. Again, focus is on the 'Cosmic Welder' who has graced every record cover of RED GIANT. For me as an old Kiss fan it's a great idea. Even if this album has its lengths, RED GIANT has succeeded in recording their best full length. It's nasty, it's full of catchy hooks and it's damn heavy. Here we have solid, ass kicking rock and roll, as performed by men who know what they're doing and are utterly unrepentant about it. If you want rock, buy RED GIANT.
This statement may be acknowledged as fact by only a small and select contingent of discerning musical enthusiasts, but no band short of perhaps West Virginia's Karma to Burn exudes a greater sense of mystique in conjunction with their uniquely recognizable, slightly skewed stoner metal aesthetic than Cleveland, Ohio's enigmatic Red Giant. Notoriously elusive and anti-social, the group's members have made a habit of emerging out of apparent hibernation every half-decade or so, always armed with a new collection of labyrinthine twin-guitar overtures as bruising as they are scintillating. And because they are a guitar band's guitar band by definition -- even though front man Alex Perekrest is one hell of a singer -- it's no wonder that Red Giant prefer to mask their identities behind the grim iron helmet of the ‘Cosmic Welder,' a Galactus-like mascot that, in one guise or another, has graced all of their album covers. In the case of their fourth full-length, 2010's Dysfunctional Majesty, said mascot stands triumphant over a throng of submissive lovelies in direct emulation of Kiss' classic Love Gun artwork; but all signs of lighthearted wit or wanting to "rock and roll all night and party every day" end right there, because when the needle hits the groove, Red Giant are all business -- heavy, indomitable business. And ‘business' highlights including a bristling, razor-riffed "Never Touch the Lens," an intense guitar-slinging masterclass taught by the instrumental "Weird Problems," a comparatively laidback "Million Point Buck," whose second half harks back to the lysergic space rock of 1999's epochal Ultra-Magnetic Glowing Sound, and a simply colossal achievement in "It Doesn't Seem Right," where highly atypical songwriting hooks collide with the usual implacable shredding for one of the most immediate numbers of Red Giant's career. On the other hand, and on occasion, the band is brought down to earth by significantly less intriguing fare like the stutter-paced "Easy, Killer" (which oddly echoes Metallica's St. Anger misfires), the laggardly paced "Silver Shirley" (which finally kicks some dust near its conclusion), and the Corrosion of Conformity sound-alike "Lamentations." But Dysfunctional Majesty's heights are entirely more prevalent than its rare depths, or else the spirited and stunningly note-perfect cover of AC/DC's "Let there be Rock" that closes the LP wouldn't feel so out of place and, well, all too human. And of course humanity is still a matter of conjecture where Red Giant's extraterrestrial, two-pronged guitar attack is concerned…only the Cosmic Welder is a certainty.
- Eduardo Rivadavia
Red Giant used to live up to its name, putting a spacey, cosmic spin on good old-fashioned heavy rock & roll. Most of the psych element has been purged from their sound in recent years, but that’s ultimately been a good thing. Instead of trying to out-freak Monster Magnet, the Cleveland quartet has concentrated on just rocking the fuck out, something at which it’s quite good at, as Dysfunctional Majesty proves. The band’s third record bursts at the glowing seams with thick, meaty riffs that spill out over the edges of Million Point Buck, Never Touch the Lens and Lamentations. Frontdude Alex Perekrest boasts a nice, healthy growl, but it’s really Damien Perry’s six-string wizardry that’s the Giant’s most compelling calling card. The band rocks perfectly good ass without him, but once he uncorks, Red Giant turns deadly. The album’s apotheosis is Weird Problems, a six-string ensorcelled epic that could only be followed by a palette-cleansing AC/DC cover (Let There Be Rock, natch). Dysfunctional? Not hardly. Majesty? Oh, yeah.
- Michael Toland
Red Giant have always been somewhat of an enigma. They disappear for years at a time and just when you think you’ve forgotten all about ‘em, they show up at your door one day, ten stories tall, clutching a sledgehammer in one hand and a cluster of planets in the other hand, a shit-eating grin like a chasm on their face. Then all of a sudden it’s like they never went anywhere at all, and the reason they’ve only put out two albums in the last eleven years (1999′s Ultra-Magnetic Glowing Sound and 2004′s Devil Child Blues) is because they’re thick-chested overlords of the cosmic mean machine with some heavy duty responsibilities, like riding high atop choppers of flame into the heart of interstellar battle, forging lunar wars in the name of universal dominion. Only when they’ve defeated their space foes and captured the black skies above us do they settle down to tell tales of their conquests via macho, bubbling, dope n’ roll songs. Their latest episode, Dysfunctional Majesty, is another batch of bad-ass biker metal blues cut from blood-soaked denim and bathroom walls, which means it sounds like AC/DC, Alabama Thunderpussy, Beggar’s Ball, Dixie Witch, and any one of Wino’s bands all at once, in case you’re having trouble remembering. However, dig the Clutch-like groove on “These Satisfactions are Permanent” and the Sleep-like doom of “Silver Shirley” for some new twists on their gruesome, galactic sound. Hop on board this one, friends, because it’s one hell of an awesome ride and who knows when they’ll be back around for another spin.
- Jeff Warren
Red Giant’s first album in six years finds the Cleveland four-piece come down to earth. Where 2004’s Devil Child Blues — and even more so their earlier albums, Ultra Magnetic Glowing Sound and Psychoblaster and the Misuse of Power – was spacier, looser, more open, the newer output on Dysfunctional Majesty (their second offering through Small Stone) is tight, rigid, professional-sounding. The tracks are not given to exploration, but rather, follow the guitars right through to the kind of straightforward heavy groove rock that has become synonymous with Small Stone’s name the last several years.
You wouldn’t know it by their level of output, but Red Giant mark two decades of existence in 2010. On Dysfunctional Majesty, guitarist/vocalists Alex Perekrest and Damien Perry and bassist Brian Skinner (all three original members) are joined on drums by Eric Matthews (ex-Pro-Pain), and while it’s been a while since we’ve heard anything from Red Giant, the maturity of the band still shines through in contrast to Devil Child Blues. Nothing against that album – it rocked plenty hard and plenty fast – but Dysfunctional Majesty is a different level entirely. The ease with which Red Giant channels labelmates Dixie Witch on “Million Point Buck” and “It Doesn’t Seem Right” speaks to the level of consciousness in the songwriting. The woman-as-car metaphor on “Season of the Bitch” may be overdone and cliché, but at least Red Giant do it well and know it’s the riffs that really matter in driving the song home.
It’s Perekrest and Perry (golly those names are similar) leading the way on most of Dysfunctional Majesty, providing moments of über-groove on early album highlight “Never Touch the Lens” as Perry makes a killer solo seem easy. If there’s anywhere on the record where the material gets stretched out, it’s on centerpiece cut “Silver Shirley,” which boasts some saxophone free jazz later matched on guitar, doomier riffing, and a more expansive feel. Helping that is the fact that it’s also the longest song on Dysfunctional Majesty at 7:14, most of the added time going to the already-mentioned elements and some well-mixed bass warmth from Skinner. It feels like an album climax, but comes early. I’d say it’s the close of a vinyl Side A, but at just under 67 minutes, the album is way too long for a single LP. Maybe a double.
That’s another issue. On one level, you can understand why Red Giant would want to include as much as possible on Dysfunctional Majesty, given the years passed since Devil Child Blues, but with the last 12 minutes of the record devoted to the instrumental jam “Weird Problems” and the AC/DC cover “Let There be Rock,” I’m not convinced that’s the best way that time could have been spent. The two tracks prior, “Herds of Something Else” and “Lamentations,” are shorter, tighter, and better suited to Dysfunctional Majesty as a whole – though when it comes down to it I’d rather hear Red Giant talk about unleashed mutants as they do on the earlier “Easy, Killer” than the politics of “Lamentations” – and it’s not that the finale feels tacked onto the album, just that by then, Dysfunctional Majesty has already peaked. Maybe redistributed, rearranged in the tracklisting, the results would be different.
Perhaps with Matthews added to the lineup Red Giant will get another record out in less than half a decade – that’s not a knock on the band; life happens – but even if they don’t, Dysfunctional Majesty is loaded with enough of the Heavy to last at least a couple of those years. It’s a strong album for Small Stone, who’ve had a killer 2010 with releases from Solace, The Brought Low, Sasquatch and others, and definitely the most accomplished Red Giant effort to date. For any fan of heavy rock who’s gotten into the genre in the time since 2004, it’s time to get yourself introduced.
- H.P. Taskmaster
Once again Red Giant have done it. Their third album, and second under Small Stone, this four piece band from Cleveland have put together another must have for 2010. Dysfunctional Majesty is the followup to to 2004′s Devil Child Blues. After a six year wait, the album is finally upon us.
The instruments are fast, heavy and tightly woven together. The vocals are heavy, fast and kick you in the balls loud. Benny Grotto did a superb job at mixing this beauty. Baseline Audio Labs deserve a lot of credit on the mastering.
The album is 12 tracks straight hard rock with hints of metal and maybe a pinch of thrash. The second to last track, “Weird Problems,” is a finely played, fast paced instrumental track. To close off the album is a kick ass cover of AC/DC’s “Let There Be Rock.”
Red Giant fans have been waiting patiently for this one for a long time. You definitely won’t be disappointed. Anyone who hasn’t heard them before owes it to themselves to seek out their previous albums and rev yourself up. If you like bands such as Ironweed, Lo-Pan, Backwoods Payback, Devil to Pay or even Mammoth Mammoth then you’ll like Red Giant.
Dysfunctional Majesty is due out September 28th on Small Stone Recordings.