Baroness
Gold and Grey

Release Date: 2019 | Tracklist

The divide between critics and fans seems to be widening the further we get into the 21st century in all forms of art, and especially in bold sequels. Whether it’s movies like Star Wars: The Last Jedi, or videogames like The Last of Us Part II, media coverage is becoming as polarized and opposed as the political landscape of the world we live in. The music equivalent of this phenomenon is Baroness’s Gold & Grey, released last year to universal critical acclaim and fan shame. Like the above examples, the elements of the album that the critics loved were ones the fans hated, and like those other examples, it was undeservedly shat upon because of it.

That’s not some slight against fans, mind you. First impressions can color our thoughts on things for all of time, no matter how much better the rest of your experience is. For many of these media pieces, that first impression was bad on its face, misleading for one reason or another, or influenced greatly by one loud viewpoint. It’s easy to get caught up in a landslide of echo chamber opinions without even getting a hand on the subject itself these days, and just as easy to whip out a quick writeup in order to cash in on current trends, but, like a newborn child, the strongest opinions that stand the test of time are the ones given proper time to form and develop before being revealed. Classics like John Carpenter’s The Thing and Metal Gear Solid 2: Sons of Liberty were reviled upon release, and took decades before being given their proper respect and consideration for similar reasons, and Baroness’s latest output is a victim of this quick consensus, especially in terms of its production and mixing.

Dave Fridmann's production and mixing take the band's unique blend of progressive rock and sludge metal into new psychedelic places that utilize dynamics and noise masterfully, and it’s not an accessible or conventional style either; the everchanging panning of the instruments and vocals alongside the prominence of the bass and drums in the mix serve to disorient the listener and immerse them in the emotional heart of the record. John Dyer Baizley and Gina Gleason’s guitars cut through to deliver the band's signature melodic hooks while Nick Jost’s standout basswork and chemistry with Sebastian Thomas’s powerful and technical drumwork drive the band, but with an intensity, tension, and catharsis that a traditionally clean mix could never deliver.

This mix was confusing and off-putting at first listen, with clipping blastbeats, fuzzed out drums, guitars that almost blend into the noisy ambience at times, and a low-end so booming you’d think this was The Marshall Mathers LP. It’s a bold choice to say the least, and for some, it makes for a painful listening experience, but it’s how you approach the mix that lets you appreciate it or hate it. Don’t go looking for the sound of Blue Album, Yellow & Green, or even Purple. Those albums had completely different intentions from what is effectively a different band. Look at the sound of this record like you would Boris’s Pink or Have A Nice Life’s Deathconsciousness, where the obscured elements, the noisiness, and the overpowering distortion gives weight, tension, even mystery to some moments. Make no mistake, this is not some amateur’s inability to access good recording equipment or sheer incompetence driven by a producer’s reputation. The cloudy gray moments only serve to brighten those golden highs, and the amazing vocal performances of Baizley and Gleason alongside their intricate layering in such an intense mix can't be replicated or bested in any live performance.

The vocals sound distant but distinct in cuts like "Broken Halo" and "Throw Me An Anchor", but other times can be clear and intimate in highlights "I'd Do Anything" or the haunting "Emmett - Radiating Light". Gleason establishes herself as a powerful driving force for some of the most powerful moments on the record as her vocals harmonize with Baizley's at pivotal moments; the desperate cry at the end of "Broken Halo" and the climactic, engulfing tornado of sound ending the vocals rise above on "Seasons" perfectly embodies the turbulent times and lasting hope the lyrics portray.

Speaking of which, the lyrics are some of the most evocative and emotional the group has penned thus far, with tales of color fading, imminent disaster, and breaking bones. All this dark and violent imagery sits alongside pale suns setting and lights shining down. It contains this intriguing and compelling contrast between the natural and unnatural, the destructive and healing, and a self-loathing versus a hopeful resistance in the face of utter destruction from forces outside and in. Opener “Front Towards Enemy” sets the stage and tone for the rest of the record perfectly: “We’re headed for disaster/but I won’t close my eyes until it’s over./So, carry on.”

The themes are especially resonant during the current COVID-19 pandemic. It’s a tough time that most have spent either locked inside while dealing with newfound mental and emotional stress due to the lack of social contact or fighting against age old injustices from outside forces. It’s a struggle for many both inside and out, and even though this record hasn’t been as eerily prophetic or predictive on the specific causes of these stresses as Protomartyr’s recent masterpiece Ultimate Success Today, it embodies the general conflict many of us are going through. The choice to name this record Gold & Grey over Orange fits the contrasts in the album’s lyrics, tones, and the beautiful artwork. There's also a more diverse vocal delivery on this record to match, going from near-whispers to howls and fiery roars that, while not matching the sheer power of the growls on previous output First & Second or the calmer performance of Yellow & Green, avoid overstaying their welcome.

Same goes for the dynamics and flow of the record as a whole: not a minute of Gold & Grey's hour-long runtime is wasted. The album balances its heavy, ***-off barnburners with tense and beautiful quiet pieces. There’s no one half of the record that shines over the other, as the tonal variety and pacing make for a compelling listen whether it be broken up on vinyl into three segments or one continuous listen on other formats. Interludes that initially seem pointless reveal themselves over time to be essential to the album's pacing as breathers from the chaos, and the likes of “Can Oscura” and “Crooked Mile” make for even greater live performances where the band expands on the ideas they lay down on record. It could be argued that the better ones should’ve either been incorporated into the existing main tracks that they crossfade with or should’ve been expanded upon to justify being separate songs, but unlike, say, Tool’s great but flawed Fear Inoculum, none of these moments are unoriginal, lazy, or pointless segments that deserve to be left on the cutting room floor.

Baroness’s Gold & Grey is an artistic achievement that redefines what a good production can contribute to a record, while setting new standards in the band’s songwriting and album structure. It’s not just the band’s best work to date, it’s one of the greatest rock albums of the 2010s.

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