Since the music of Baroness has been unlike any other band to me, and more akin to a spiritual experience since I first got into them in 2007, I set the mood for myself before listening. I turned the lights down low, cracked the window open to get a nice breeze going, and heard the sound of large late summer raindrops filling my ears. The city’s heartbeat in the deep background was the only other sound besides my breathing. I just stared at the new album artwork for five straight minutes. At peace for a change, in the still and calm of myself, and by chance, present in the city of my birth for a few days, I hit play on the promo and then let the first notes hit me.
Raindrops. It was also raindrops.
After closing the window and starting Stone (Abraxan Hymns) over again I played the intro track of “Embers” and really appreciated that Stone is still Baroness, but it really is a further mutation on a theme the band has been mining this last decade. They defy genre tags and really transcend genres altogether to just make “Baroness music” now. With the decidedly O Brother, Where Art Thou? soundtrack vibe of folksy homespun music for the opener (a theme that will return), the honey-laced vocals of John Dyer Baizley and Gina Gleason lull you into a dream before the next track kicks over.
“Last Word” was a prominent early single and the track is somehow heavy, proggy, and also soothing at the same time. This is a trick few have ever pulled off successfully. Sure, you know Jimmy Page ran guitars with no distortion through Marshall amps that would make riffs just float and sing, but also consider the guitar work of Bob Mould, Frank Black, Chrissie Hynde, Kurt Cobain, and Matthew Sweet. Baroness have not gone Alt-Rock, but as usual, a new album means they are writing a new chapter of the guitar players’ handbook before our very ears.
And that is just the second track.
“Beneath The Rose” throws it back to Blue or Red album Metal riffs and terrific spoken-sung delivery from John. In addition to a propulsive drumming and bass combo from Sebastian Thompson and Nick Jost, we are also treated to some killer harmony soloing.
The next track “Choir” also has a great chug factor riff, with another spoken word-type delivery. It’s great to hear not just creative, poetic lyrics, but also some theatrics too. You might get a chill up your spine at how mystical Nick Cave-like this one gets by the middle section.
“Dirge” is anything but, actually. It is another bit of Appalachian American sunshine. Recent devotees of the sparser churchy recent works of Reverend Kristin Michael Hayter or Emma Ruth Rundle will warm to this one.
Foregoing any similar structure to the rest of the album, “Anodyne” is a four-on-the-floor rocker. Head down and urgent feeling, the gently harmonized layered vocals of the verses play a stark contrast to the jangly chorus. There are also some sick flanger effects and subtle ear-worm guitar licks heard here, and never before in the bands’ history. For the majority of Stone, Gleason has really evolved into a co-lead vocalist, co-guitarist, and true co-conspirator in every way, complimenting Baizley now. It’s the sign of ultimate value and respect.
From track to track, the album never repeats a timbre except the drum recording which is consistent all the way through. The production overall here is immaculate.
“Shine” is another uptempo jaunt of a track. Thumping basslines drive the percolating beat along with heavy chords, with passion dripping through the vocal performance, too. Along with “Magnolia” – these longer tracks late in the album don’t actually feel too long at all, and are really epic on repeat listens – they almost complete a suite of sorts.
Wistful and mellow, “Magnolia” sits right in the middle of Country ballad and a Dark Folk lament. For the first two minutes at least. Then it shifts into a passionate rock jam with almost a nautical beat. This song, like this entire album, just keeps upping the ante on creativity, and heart.
Hypnotic and haunted, “Under The Wheel” is not a Black Sabbath or Alice Cooper song you forgot about. It does not have that heaviness or campy evil quotient the title evokes, but it sure has that intent and sinister guitar work Stoner Rock fans flocked to this band for on Red. When you think they are going to boil over and go big, they get so tiny, so small, in a pocket dimension as a band and it makes these really astounding golden moments. The chorus, when it finally hits, is lava!
Another gentle track “Bloom” gives the album its egress. A companion to the opener, perhaps it is the full version of that track. So lush and soothing, it does bring to mind the lighter moments of Pink Floyd (think Meddle). A grey spot creeps into the blue skies towards the end, but it is the great pool of calm waters on an album with many eddies.
Stone is the sixth album from Baroness, and at this point in their career, they are operating on another level of song-craft and musicianship compared with anybody else. Honestly, maybe they always have been.
Buy the album here:
9 / 10
KEEFY