ALBUM REVIEW: Stone – Baroness
A new BARONESS album is always a momentous occasion, and sixth album Stone even more so with the band leaving behind the colour-based titles they’ve used for so long. Over their first five albums they journeyed through kaleidoscopic worlds of sludge, prog and more while they explored a myriad of emotions. While Purple was the bruised aftermath of the horrific bus crash they were involved in some years ago, Gold & Grey showed a band moving further away from the hurt. So where does that leave Stone?
Well, in many ways it’s a break with both the colour palette and those emotions surrounding the tragedy. It’s still an intensely emotional album though, as only BARONESS can muster, through charging riffs, serpentine leads from John Baizley and Gina Gleason, along with Baizley‘s iconic soulful vocals. While those classic elements are present, there are also plenty of moments where the ramshackle, DIY nature of the album’s creation shines through too, proving yet again that they’re an extremely special band that consistently refuse to repeat themselves.
Embers lives up to its name, a slow, sombre start of acoustic guitar, field recordings of birdsong and harmonised vocals between Baizley and Gleason. Before long though, a drum fill heralds the arrival of lead single Last Word and it’s immediately recognisable territory. The galloping pace, dual guitars and vocals are as BARONESS as it gets, as the two sing “I remember every last word / I remember it all” with Baizley’s gravelly tones sounding phenomenal as ever.
There are also plenty of moments where the band diverge from what’s expected of them. Beneath The Rose employs preacher-like spoken word verses, Baizley doing his best fire-and-brimstone impression between the soaring choruses. Similarly, Choir focuses on bass and drums initially, with a scorching sermon delivered once more; it’s like nothing else they’ve done before, but no less riveting for it.
It leads into interlude (of sorts) The Dirge, another bold step as they embrace BARONESS via the barbershop quartet with layered harmonies and acoustic guitars. This isn’t something that necessarily clicks on first listen; more than ever, Stone is an album that specifically rewards repeat listens to truly appreciate the more expansive worlds BARONESS are inhabiting here. The band follow these diversions into strange new territories with Anodyne, a track that echoes the anthemic nature of Purple and a stunning lead duet between Baizley and Gleason.
Shine accents its serene introduction with glockenspiel before moving through progressive sludge and post-rock, while Magnolia tugs at the heartstrings with its folky intro that then surprises with a huge, burly riff that would make MASTODON jealous with a cavernous, bellowed chorus that’s simply glorious. BARONESS’ refusal to repeat themselves and to evolve in some way with every record has paid off hugely here; while Stone takes its time to truly release its secrets (unless you’re a prophesied king, perhaps), once it does it’s a truly arresting album that sinks its hooks in deep. Six albums into their illustrious career, BARONESS prove there’s plenty of life and surprises left in them yet.
Rating: 8/10
Stone is out now via Abraxan Hymns.
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