Being a long-term fan of Baroness, the release of their 6th album has been anticipated. “Stone,” is a significant moment for the band, as it’s the first time they’ve returned with the same lineup as their previous album. When that is said, this continuity doesn’t necessarily translate into the best result of their musical journey. 

I find the album to be a mixed bag that has moments of brilliance and parts where I wish some new blood or fresh input would have been a good thing to add to the mix. 

After hearing it a number of times, I decided to ask for some help to see if I were the only one to have the same sentiment that I have: I think it is a really good album, but still feel a bit disappointed. I was not alone. Pitchfork, Metal Injection, and The Sleeping Shaman all seem to point in the same direction. Let’s dig into that later. 

The history of Baroness

Baroness was formed in 2003 in Savannah, Georgia, and has since its inception pushed the boundaries of the progressive metal genre, blending elements of sludge metal, alternative rock, and even art rock into its music.

The band was founded by John Baizley and Allen Blickle, who were later joined by Pete Adams and Summer Welch. Their early work was heavily influenced by sludge metal, a subgenre known for its aggressive and heavy sound. Baroness released their first EP, “First,” in 2004, which was followed by “Second” in 2005. 

With the naming convention from the two EPs, it was interesting to see how their albums followed suit of colors: “Red Album”, “Blue Record”, “Yellow & Green” (which is my favorite), “Purple”, “Gold & Grey”, before switching to “Stone” this time (or is it a natural evolution from Grey to Stone). 

Baroness’ breakthrough and evolution

Baroness gained wider recognition with their debut full-length album, “Red Album,” in 2007. The album was critically acclaimed and marked a shift towards a more melodic and progressive sound. Their subsequent albums, “Blue Record” (2009) and “Yellow & Green” (2012), continued this trend, incorporating more clean vocals and intricate guitar work. “Yellow & Green” was particularly notable for its commercial success, charting on the Billboard 200.

The Baroness 2012-tour bus accident

The band faced a major setback in 2012 when their tour bus fell off a viaduct in England. Several members sustained injuries, leading to lineup changes. Despite the challenges, Baroness returned stronger with their fourth studio album, “Purple,” in 2015. The album was a commercial and critical success, winning the Metal Hammer Golden Gods Award for Best Underground Band.

Let’s get back on track with their latest album. 

One of the standout moments comes early in the album with the track “Last Word.” Here, Gina Gleason delivers a guitar solo that is nothing short of electrifying. Her performance is a high point that the album never quite returns to, leaving listeners to ponder what could have been. This sentiment is echoed across reviews, with Pitchfork highlighting the solo as a “perfect guitar solo, a thrill ride so disorientating you’re left to wonder where you are not just in the song but in the world.”

The album’s production approach is also noteworthy. Baroness chose to self-produce “Stone,” converting an Airbnb into a makeshift studio. While this DIY approach is admirable, it has its drawbacks. The album often feels like a patchwork of ideas that have worked for the band in the past but don’t necessarily come together to form a whole. Metal Injection points out that much of “Stone” feels like “stitched-together composites of what has worked well in the past.”

Musically, “Stone” traverses a range of styles, from heavy metal to hard rock and psychedelia. However, the album’s lack of focus becomes evident in its three-song suite, which Pitchfork describes as “the nadir of their career.” These tracks feel like disparate pieces that don’t quite fit together, leading to a disjointed listening experience.

Despite these criticisms, “Stone” is not without its merits. Tracks like “Magnolia” and “Under the Wheel” show Baroness at their best, balancing heavy instrumentation with melodic hooks. These songs is a flashback to their true ability to craft songs that are both complex and accessible.

Thematically, the album delves into existential topics, exploring themes of mortality and change. The Sleeping Shaman notes that the album is “a plodding and byzantine reflection on mortality,” which adds a layer of depth to the music. However, the execution often falls short, leaving listeners wanting more.

In conclusion, “Stone” is an album that showcases both the strengths and weaknesses of Baroness as a band. While it features moments of musical brilliance, it also suffers from a lack of focus and cohesion. It’s an album that will likely divide fans and critics alike, leaving some to celebrate its high points while others lament its missed opportunities.

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