Album Review: Baroness “STONE”

Philadelphia-based heavy metal quartet Baroness return with their sixth studio album, STONE.  Released September 15th via their label, Abraxan Hymns, STONE reveals the band in their most innovative and cohesive form. Comprised of John Baizley (guitars, vocals, illustration), Gina Gleason (guitars), Sebastian Thompson (drums), and Nick Jost (bass), Baroness were led by a deep desire to explore rather than repeat their previous work. The result is a soaring and emotional record that is too fresh to succinctly be put into words.

“Embers” softly commences the album, presenting acoustic harmonies and prayer-like lyrics. As Baizley sings  “Build me a home of ember and chain / Leave me a simple life,” it seems perfect for sitting back and looking out over the countryside. However, there’s an intuitive harbinger of discord that can’t quite be explained. Suddenly and immediately, we’re blown away by the transition into “Last Word,” and that feeling of discord starts to make sense. The song was the first single released from the album and guides listeners on an epic journey through heavy riffs, gorgeous backing vocals, a propulsive guitar solo, and a hauntingly ambient outro that cannot be ignored.

“Beneath The Rose” is evil and foreboding. Thompson drums abruptly and sporadically, demanding attention. Baizley demonstrates a style of vocals that are new for Baroness, going back and forth between singing, talking and yelling. Gleason adds to the explorative dynamic roughly four minutes into the track as her and Baizely scream “Everything you have / And everything you need / Everything is broken and / The rest was meant to be / I know this isn’t easy, but it’s better late than forever.” Extremely powerful and utterly gripping, it’s a pleasure to hear so much of Gleason, who joined Baroness in 2017 and now feels she has a stronger voice and greater sense of creativity within the band.

Smoothly transitioning into “Choir,” we’re blessed with a sinister account of beasts as echoing drums and a driving synth provide a creepy and other-worldly feel.  “The Dirge” revisits the crunchy, folk-like nature of the opening track. “Anodyne” lays down a heavy and languishing groove, guitars whirring as Baizley repeatedly sings, “In dreams we’re gonna fall… forever.”

“Shine” was the third and final single to be released from the album, and despite the title of the song, ironically addresses themes of darkness, fear and despair. Lively, reflective, and cathartic, it is a highlight of the album, and even features a few unique glockenspiel moments. “Magnolia” is a sonic masterpiece which starts off slow and peaceful before doing a full 180. The song builds wonderfully, and just when you think it can’t get any heavier, it does.

Nearing the end of the record, 6-minute-long “Under The Wheel” does not disappoint. Jost’s bass work really stands out on this track and energetically complements the other parts. In what is perhaps the climax of the entire album, Baizley wails, “Fire from Heaven / Fire from below / There’s no better feeling than burning for you.”  Closing track “Bloom” revisits the melody and structure of the opening track “Embers,” giving listeners the sensation of harmoniously coming full circle.

STONE may be the first record where Baroness moved away from the theme of chromatics, but do not let that fool you— the album is their most colorful yet.

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