Фирма Small Stone

Record Label: Small Stone Style: Stoner Rock

Record Label: Small Stone Style: Stoner Rock

Record Label: Small Stone Style: Psychedelic Rock

Record Label: Small Stone Style: Psychedelic Rock

Record Label: Small Stone Style: Psychedelic Rock

Record Label: Small Stone Style: Psychedelic Rock

Yeah. You think you're ready for The Heat, but you're not. Catchy hooks and sweet vocal harmonies are nothing new for Finnish rockers Mangoo. On the Turku-based outfit's third full-length, they come backed by a wall of thick, fuzz-fueled guitars and hard-hitting drums with an added sprinkling of analog synth sounds, combined they result in a sound truly the band's own - someplace between grunge, classic heavy rock and a progressive psychedelic spaciousness that refuses any and all boundaries of style between rock and metal and beyond. Mangoo have been busting out the fuzz since 2005 when they released their untitled debut EP. Countless beers, shows and drummers later in 2009 the first full-length, Neolithic, was released on 7:45 Records. With a firm lineup of guitarist/ vocalist Pickles, guitarist Mattarn, bassist Igor, drummer Teemu and keyboardist/noisemaker Nicke, they engage new expanses as they follow-up their 2012 Small Stone debut, Neverland, with the 11 songs of The Heat. Mega-choruses like "Get Away" and "Grey Belly" provide landmarks while Mangoo bring psychedelic heft to "Beyond the Sky" and the title-track, which at seven minutes seems to draw together everything the album that shares its name has to offer - except perhaps in the closing cover of Eddie Murphy's 1985 single "Party all the Time." Not that they needed to remind listeners to stay on their toes because you never know what's coming when Mangoo emerges from the studio, but suffice it to say the track remains an earworm for the ages. All told, Mangoo's The Heat is 53 minutes of masterful heavy rock and roll of inimitable personality and unmistakable songcraft. It is a welcome return after half a decade from a band who have obviously not been wasting their time in terms of growth and forward progression, and a surefire highlight for any underground heads lucky enough to take it on Record Label: Small Stone Style: Stoner Rock

strictly limited to 500 copies - 180 gram - 2nd press on clear vinyl When Five Horse Johnson formed back in 1995, referring to themselves as a "blues band," a few brows might well have been furrowed. But this is a band that has always understood that the blues isn't a formula - it's a way of looking at the world. Their take on the blooze is as a dirty, sensual thing, enhanced with a healthy dose of humor. Now some two decades and seven albums into their career - with eighth Jake Leg Boogie, set to drop in Summer 2017 on Small Stone - Five Horse Johnson have dug out a niche of their own, a genuine love and respect for traditional blues and classic rock leading them to likewise become one of the most loved and respected bands in the heavy rock underground. Always a freight train live, they've toured the US (with Clutch and Halfway to Gone) and Europe extensively (including the festival circuit), gathering fans, friends, and drinking partners all over the Western World. Jake Leg Boogie sees FHJ going back to its recording roots. Original drummer Tim Gahagan has rejoined, and the results are powerful. Brad Coffin's guitar has never sounded heavier, his voice never stronger. Eric Oblander's harp, meanwhile, is as sharp as a tailfin, and his gravelly vocal delivery a growling, howlin' counterpoint to Coffin's gruff style. Steve Smith's bass is a strong backbone, while Phil Dürr's guitar complements that of Coffin, adding extra edge for good measure. From the slow, bluesy stomp of the title-track, to the dirge vibe of "Daddy Was a Gun" - a story of some weird goings-on in a strange parish - Jake Leg Boogie is pure old school FHJ, recorded live, everyone in the same room, with as little overdubbing as possible. Accordingly, it feels lively and loud in the MC5-come-Hendrix vibe of "Hard Times," the hard-rocking "Magic Man" (a tale of depravity set in the town of Springfield, MO), and the near-Texan boogie of "Smoke Show." Jake Leg Boogie was recorded at Rustbelt Studios, with longtime producer Al Sutton (Big Chief, Novadriver, Halfway to Gone, Detroit Cobras) at the production helm, with a definitive nod to Dave Cobb (All Them Witches, Rival Sons). Artwork provided by noted graphic artist and FHJ-collaborator Mark Dancey, keeping with a tradition established on 1999's Fat Black Pussycat. Five Horse Johnson is not a band that makes apologies, and compromise is not an option. The truth is, this is hard, heavy, dirty blues rock 'n' roll for people who like the sound of an engine roaring or the feeling obtained by following a cold beer with a shot of good whiskey. FHJ will gladly kick your ass, and then wait for you to say thank you and ask for another. Which you will Record Label: Small Stone Style: Stoner Rock

When Five Horse Johnson formed back in 1995, referring to themselves as a "blues band," a few brows might well have been furrowed. But this is a band that has always understood that the blues isn't a formula - it's a way of looking at the world. Their take on the blooze is as a dirty, sensual thing, enhanced with a healthy dose of humor. Now some two decades and seven albums into their career - with eighth Jake Leg Boogie, set to drop in Summer 2017 on Small Stone - Five Horse Johnson have dug out a niche of their own, a genuine love and respect for traditional blues and classic rock leading them to likewise become one of the most loved and respected bands in the heavy rock underground. Always a freight train live, they've toured the US (with Clutch and Halfway to Gone) and Europe extensively (including the festival circuit), gathering fans, friends, and drinking partners all over the Western World. Jake Leg Boogie sees FHJ going back to its recording roots. Original drummer Tim Gahagan has rejoined, and the results are powerful. Brad Coffin's guitar has never sounded heavier, his voice never stronger. Eric Oblander's harp, meanwhile, is as sharp as a tailfin, and his gravelly vocal delivery a growling, howlin' counterpoint to Coffin's gruff style. Steve Smith's bass is a strong backbone, while Phil Dürr's guitar complements that of Coffin, adding extra edge for good measure. From the slow, bluesy stomp of the title-track, to the dirge vibe of "Daddy Was a Gun" - a story of some weird goings-on in a strange parish - Jake Leg Boogie is pure old school FHJ, recorded live, everyone in the same room, with as little overdubbing as possible. Accordingly, it feels lively and loud in the MC5-come-Hendrix vibe of "Hard Times," the hard-rocking "Magic Man" (a tale of depravity set in the town of Springfield, MO), and the near-Texan boogie of "Smoke Show." Jake Leg Boogie was recorded at Rustbelt Studios, with longtime producer Al Sutton (Big Chief, Novadriver, Halfway to Gone, Detroit Cobras) at the production helm, with a definitive nod to Dave Cobb (All Them Witches, Rival Sons). Artwork provided by noted graphic artist and FHJ-collaborator Mark Dancey, keeping with a tradition established on 1999's Fat Black Pussycat. Five Horse Johnson is not a band that makes apologies, and compromise is not an option. The truth is, this is hard, heavy, dirty blues rock 'n' roll for people who like the sound of an engine roaring or the feeling obtained by following a cold beer with a shot of good whiskey. FHJ will gladly kick your ass, and then wait for you to say thank you and ask for another. Which you will. Record Label: Small Stone Style: Stoner Rock

For fans of: Black Crowes, Dirty Streets, Rival Sons, Royal Blood. Formed in 2008 after the duo had spent a number of years in other bands, Chris Tapp and Brian Mullins got together for the sole reason to jam. No preconceived notions; just Record Label: Small Stone Style: Stoner Rock

Reissued on bottle green transparent vinyl - 180gr ** Limited pressing of 500 copies !! Tearing through the speakers like a swamp monster summoned from some dark cosmic morass, Texas riffmasters Wo Fat unapologetically blast out a southern fried, blues-infused version of Psychedelic Doom, conjuring up visions of hoodoo shacks, prowling undead, hell hounds at the crossroads, Lovecraftian cultists and ghouls, and worlds beyond where the riff reigns almighty. Wo Fat rose from the deep and began their psyche-doom-adelic quest circa 2003 when guitarist Kent Stump formed the band with drummer Michael Walter and bassist TimWilson. Their goal was to create a music that is crushingly heavy, but that stays within the paradigm forged by Black Sabbath, Jimi Hendrix, ZZ Top and the other 70's greats. A music that allows for improvisational freedom, extensive jamming and interplay between the three members yet that, at the same time, allows them to crank out monolithic, fuzzed out, downtuned riffs, all the while staying true to the haunting blues that wail and moan deep within their souls. Their 2006 release, "The Gathering Dark," which was the first documented, hazy, smoke-filled trip in their ongoing Riff Quest, gave us the blueprint that they would expand upon in later albums. This blueprint was a mixture of dark, Mississippi Hill Country blues, extended acid guitar freakouts and heavierthan-Led, Sabbath-style riffing.Wo Fat took things up a notch with their next album, "Psychedelonaut"(2009) and again with 2011's "Noche del Chupacabra," continuing to offer up even weightier and more crushing riffage coupled with moments of spaced out trippiness. Both of these albums garnered much critical acclaim and helped to establish them as an up and coming force to be reckoned with in the Stoner/Doom world, with "Noche del Chupacabra" landing on a number of Top Albums of 2011 lists. Now,Wo Fat has joined the Small Stone roster and, after another psychedelic journey to the hoodoo shack, is offering up a new epic album - "The Black Code" - five hefty slabs of classicWo Fat analog fuzz, but this time, with a more sci fi related motif, full of cyber-visions of evil code, alien artifacts, doors to alternate dimensions and premonitions of digital horror. Musically,Wo Fat is continuing further down the road of melding structured, groove-laden riffing with free-wheeling open improvisation, relying on heavy interaction and communication between the three musicians to take the music to new heights of sonic heaviness. And not just a one dimensional heaviness. Heaviness in groove, sound and feel as well as riff. This is not cold, sterile, machine-like metal. This is organic, earthy metal that is full of that elusive, deep, "way back yonder" funk that is so often the missing ingredient in this digital age in which we live. No synthetic designer pharmaceutical here, but a pure, expertly cultivated, homegrown strain of Texas riffage.mean that. Recommended if you like: Tia Carrera, DixieWitch, Lo-Pan, Sons Of Otis, Jimi Hendrix, ZZ Top, Black Sabbath, Acid King, Kyuss, Tummler Record Label: Small Stone Style: Stoner Rock

Limited 500 coloured vinyl" Look, sometimes these things just happen. Desert legends and Dutch heavy rockers sometimes get together on stage and it turns out better than anyone could've possibly imagined. So it was that guitarist/desert rock progenitor Gary Arce and drummer Bill Stinson of Yawning Man wound up playing with bassist Erik Harbers and guitarist Pieter Holkenborg at the Mañana Mañana Fest (which Erik and Pieter also organize) in the Netherlands in 2014. You can see videos of it on YouTube. Although the impromptu foursome had never played together before, the chemistry was there. The fluidity was there. As they jammed in and around Yawning Man songs, it was clear the union had a breadth that was only beginning to be explored. Two years later, Arce, Stinson, Harbers and Holkenborg have come together again, this time as a new incarnation of Arce's Ten East project. They proudly present their album, Skyline Pressure, through Small Stone as the next stage of their collaboration. Ten East was last heard from in with 2008's The Robot's Guide to Freedom, which was their second offering behind 2006's Extraterrestrial Highway. Between the two records, Arce's co-conspirators have included the likes of Bryan Giles (Red Fang), Scott Reeder (Kyuss, Fireball Ministry), Mario Lalli (Yawning Man, Fatso Jetson), Greg Ginn (Black Flag) and Brant Bjork (Kyuss, Fu Manchu). Harbers and Holkenborg earn their place in this illustrious company across the entire span of Skyline Pressure, from the sandy reaches of "Planet Blues" to the peaceful roll of the title-track, to the subdued sprawl of the 14-minute "Sonars and Myths." The album was recorded by Harper Hug at Thunder Underground and also features guitarist Nico Morcillo of French experimentalists Hifiklub on select tracks ("Planet Blues," "Tangled Forest," "Stalactite Dip"), but for anyone familiar with Arce's pioneering work in Yawning Man, his mark on Skyline Pressure is unmistakable. The stuff of tonal archetype. And while it started out as one of those things that just happened, the album has captured that spirit of improvisation and natural chemistry that emanated from the stage at Mañana Mañana Fest, and brought it to a lasting document that's all the more special for the spontaneity that lies at its heart. Record Label: Small Stone Style: Psychedelic Rock

Limited 500 coloured vinyl" The Swedish hotbed of Örebro has already produced the likes of Truckfighters, Graveyard, Witchcraft and Blues Pills. Prepare to add Captain Crimson to this exceptional tradition. Formed in 2010 by vocalist Stefan Lillhager, formerly of Blowback, Captain Crimson draws inspiration from the classic sounds of The Groundhogs, Blue Cheer, Emerson, Lake & Palmer, Jethro Tull and Cactus, meeting heavy boogie head-on with a modern swagger that has carried over to their latest and third album, Remind - their first for Small Stone Records. Remind follows their 2012 debut, Dancing Madly Backwards, which led them onto their first tour that Fall. Emerging with the lineup of Lillhager singing, bassist/backing vocalist Chris David (ReinXeed), guitarist Andreas Eriksson and drummer/organist Mikael Läth, Captain Crimson earned rave reviews for their blues riffing and killer hooks, and they did what any band worth their salt would: They kept touring. Their second album, 2014's Ageless Time, aligned them to Moving Air Music and Nasoni Records and once again put them on the road. On the LP, they showcased a multifaceted songwriting process, benefiting from the contributions of each player working together to bolster the strengths of the whole, and with a stopgap jam session in Stockholm captured on a 2015 digital EP, they make their way into Remind having fully realized their vision of modern classic rock. Make no mistake: Captain Crimson's latest is nothing less than a testament to the timeless power of groove, of memorable choruses that take you back to when you felt such things deep in your soul, and indeed offer a reminder that you still can and that you still do. It is the kind of rock and roll that speaks to the essence of the form, and we think that when all is said and done, it's one of the best records ever to arrive with a Small Stone logo on it. We couldn't be prouder if we tried. Record Label: Small Stone Style: Psychedelic Rock