Saxophonist Colin Stetson’s solo outing displays his interest in multiphonics, spiralling repetition, and circular breathing. Inviting comparison to veteran Toronto player David Mott, Stetson’s playing exhibits an even coarser and more carnal tone than that of his forerunner. His sturdy, concise pieces seem to derive much from the energy of rock. The thick saturated texture of his playing has all the urgency of an overdriven shred-fest blasting from a cranked-up amp, but it is barbed with biting nuance. Red Horse (Judges II) is exemplary of his brusque delivery: robust baritone chunks bark from the bell of his horn, dovetailing with oily, ornery squeaks and raw, desperate, Discovery Channel moans. The record primarily consists of thick sax slabs recorded live in single takes. Enormous amounts of spatial perspective, though, are carved out through both Efrim Menuck’s inventive miking and recording and composer Ben Frost’s unorthdox mixing. Guest vocals—contributions, spoken and sung respectively, from Laurie Anderson and Shara Worden—provide an interesting linguistic frame for Stetson’s dark-hued, protrusive playing.