Review Summary: The second album by sludge metal act Baroness is truly a praise-worthy attempt at something new and innovative.
Baroness released their promising debut, the Red Album, in 2007. Though at times one dimensional and having the occasional fault, it was an amazing debut by an incredible band of talented musicians who can play their instruments – and play them well.
In late 2009, Baroness made a triumphant return with their second record: the Blue Record. Debuting at #117 on the Billboard 200 charts and hitting #1 on the Billboard Heatseakers chart (which lists the top bands of the week who have never appeared in the Billboard top 100), the Blue Record marked a definitive advancement in sound and concept. It also marked a definitive change in sound: while staying true to the sludge metal formula, the band added a crossover appeal in newer progressive rock and lighter heavy metal elements.
Just because the band has lightened up a bit by no means assures that the music has been dulled, as is often the case when bands do such. No, no. Not this time, not this band. Baroness have become masters of their trade and the sonic onslaught continues with the Blue Record.
The first track is the markedly light and ambient “Bullhead’s Pslam.” Lasting for a mere minute and twenty seconds, Bullhead’s Pslam serves as the introduction to “The Sweetest Curse.” (Track number two.) Immediately the chugga chugga of the guitars and the solid drum patterns hit you like an atom bomb. John Dyer “Bigfoot” Baizley continues the trend of roars, this time with some killer backing vocals. As powerful as anything from the Red Album, Baroness hit the listener with some killer choruses and intriguing guitar riffs. Adding even more atmosphere to their practice than before, the first guitar solo sounds as potent – with its dual lead – as any Iron Maiden worship moments. The track descends into sludge/thrash madness towards the end, with an ambient picked outro characteristic of the Red Album.
The second track “Jake Leg” is a crowd pleaser with an intricate beginning riff which leads into some rad distorted leads and a pummeling sludge riff. When Baizley sings “Jakeeee Laaaaygggg”, you get a sense of the newfound inspiration. Clean vocals have become as much of a norm as the roars of years prior. Dual guitars hold the track together and add flair – all the way until another characteristic of Baroness’ dense sound: the mysterious part. Sadly, the mysterious part is rather short, but the hard rock riffs that follow are enough to kick any fan on their ass.
“Steel That Sleeps the Eye” is a harmony number where multiple members of the band sing along to a sweet acoustic riff. “Reel in place – till the bastards take me away”, they harmonize with as much precision as any guitar riff on the record. “Sober taste of the eye”, as the track moves towards another ambient close.
“Swollen and Halo” is the standout track of the album, much like “Aleph” from the first. The beginning is pure psychedelia. Proving the ever-increasing popularity of the band, Swollen and Halo even appears in a sports game. A sure sign of greater things to come for most. I digress, the driving heavy metal riffs and psychedelia in the track, not to mention the guitar solo, really give the track some unique flair among an entire album of magical cuts. The guitar break half-way through the song with a lot of psychedelic distortion brings this point home better than no other moment. The ‘backwards’ guitar break also hits the listener as not many have since the days when Megadeth’s “Wake Up Dead” ruled the MTV airwaves.
The album’s other “filler” tracks, though not really filler in the traditional sense – more akin to interludes than true filler – are the guitar and drum driven “Ogeechee Hymnal” and the folksy sounding “Blackpowder Orchard.” The former features a solid minute of ambient noise, good ambient noise that is, whilst the latter features an electric guitar lead over the acoustic folk. “Blackpowder Orchard” is a perfect lead into “The Gnashing” which also starts out with some light electric guitar noodling, before turning into a Southern rock dirge tinted with more of Baroness’ trademark sludge.
The radio single (which you’ll never hear on the radio) and its accompanying music video (which you’ll never see on MTV) is a solid (should be) crossover hit similar to “Wanderlust”, albeit with more variation in sounds and a better chorus which puts most mainstream “metal” acts to complete and utter shame. Most notable about the song, however, isn’t the song, but the trippy music video for it. This man dares you to watch the video for “A Horse Called Golgotha” and not get a sense of eerie mystique and matching confusion.
All in all, it seems Baroness have found their sound, and found a home amongst sludge metal gods. It seems with the commercial and critical success, these guys are destined to become the next Mastodon. As a testament to the power of honest music, Baroness recently toured Australia with both Metallica and Lamb of God. Though the crowd seemed unenthusiastic (and oddly so), it is merely a matter of time until Baroness are the crowd pleasers instead of Lamb of God. No ill-will to Lamb of God, of course. The Blue Record is the heavy metal record to own of 2009, and easily amongst the best of the decade.
