Baroness Showcase Their Eclectic Metal Prowess With Latest LP, ‘STONE’

When it comes to modern metal acts that are worthy of sitting atop mount Olympus, Baroness are no exception. The caliber of songwriting and musicianship that Baroness have brought to the heavy music space has consistently proved they are in a league of their own. With elements of sludge, shoegaze, folk, prog, doom, and array of other genres, Baroness have managed to cultivate a sound that’s exponentially expanding in new and interesting ways.

While their previous LP, 2019’s Gold & Grey, showcased their knack for writing catchy melancholic songs with a smidge of shoegaze, it also felt as if there was a lack of the band’s more signature heavy qualities like their sludgy and biting guitar riffs. Despite that, Gold & Grey was still a remarkble record even if Baroness’ uniquely heavy attributes were less present, which may have also been a result of the record’s unconventional mix. However, it’s important to reflect on this as STONE would not be as overwhelming great as it is if it wasn’t for Gold & Grey’s faults and successes. With that, Baroness might have their most polished record to date and moreover a perfect entry point for new fans with their latest LP, STONE.

Right out of the gate, STONE kicks things into full throttle with some uncompromisingly heavy riffage from “Last Word.” A fast paced groove combined with some swirling sludge riffs is the perfect cocktail to perk the ears of any longtime Baroness’ fan. However, the brilliance of this opener is only felt when paired with the soft-spoken intro track “Embers.” The minute long acoustic track not only showcases Baroness’ versatility as musicians, but sets the stage for STONE’s dichotomy of melodic and heavy songwriting that Baroness have come to establish themselves by.

There’s a host of tracks on STONE that pull off this eloquent balancing act of heavy and melodic songwriting so well, which certainly is one of the album’s core strengths. “Magnolia” and “Beneath the Rose” fit under this umbrella, with “Anodyne” feels like a refreshing call back to The Red Album with it’s low-tuned and untamed riffs. “Beneath the Rose” shares these same qualities as well, but with a new found melancholic glimmer from it’s powerful and catchy vocal hooks, all which are taken to even further heights with Baroness sophisticatedly nuanced instrumental arrangements.

Speaking of, STONE is the first album in the band’s career to feature the same instrumentalists on a consecutive LP. The current lineup in Baroness is undoubtedly a super group of musicians, as each member of the band seemingly inject an abundance of character throughout STONE. Overall, there’s a glimmering sense of personality with every instrumental whether it’s the ubiquitously intricate drum fills of Sebastian Thomson, or Gina Gleason’s integral guitar leads and vocal harmonies. Baroness’ instrumentalists deserve to be revered as much as the overall package they makeup, much like how other modern acts have cultivated praise for their core members.

STONE is easily one of the best and most satisfying heavy music offerings of 2023. There are a number of itches this album manages to scratch for an array of listeners, some of whom might not even be knee deep into heavy music, but that’s a huge part of STONE’s success. Baroness have come full circle with all of the sonic elements they’ve previously delved into, and they’ve only been further honed with the band’s current and hopefully, permanent lineup.

Verdict: 9/10

Essential Tracks: “Last Word,” “Anodyne,” “Under the Wheel”

For Fans Of: Mastodon, Thin Lizzy, Melvins