Customer Reviews

Blue Record

5 star:		(19)
4 star:		(13)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I've been looking for something more aggressive than Torche, not as predictable as High on Fire, a groove oriented metal album, something with swing. The Blue Record is the water mark arrangement I've been looking for. The Red Album was solid (e.g. The Birthing!!!), but the whole Blue Record experience fits together like a seamless old school 70's masterpiece. The songs flow with beautiful interludes, then they build into a number of crescendos that force you to listen to the album as a whole. The last three tunes are a perfect fit, with Blackpowder Orchard/The Gnashing/Bullhead's Lament. The guttural vocals are tempered with harmonies that resemble the dueling vocals found in some Fugazi tunes. You'll hear more Zeppelin influence on this album than you'll find on TCV. Most of the faster songs have a strong sing/scream along factor working for them. The music is textured and the songs have hooks, so you can count on listening to the album repeatedly and not getting bored. Of all the tunes, I think the only one that is a misfit is "O'Er Hell and Hide". The beats and spoken word don't gel with the rest of the songs, but it's a respectable tune none the less. Then there's the artwork! Baizley is a true talent and I hope that he experiences much success as he diversifies and blossoms in the visual art world. This is my pick for best of metal album of 2009.

What Baroness have done here is to attempt, and successfully execute, something that heretofore had only been attempted by Mastodon on their last couple records. Make an insanely heavy record that packs hooks - whether catchy riffs, vocal melodies, or leads - into every conceivable minute of the album, without sacrificing anything, most especially continuity or atmosphere. It is, undoubtedly, one hell of an undertaking, and most groups are not even capable of trying. Many that might be do not try for fear of failure. It's a lot easier to just pump out disgusting riffs if that's what you do well. Baroness has had that down pat from their first EP. But they began combining that unique riff juggernaut with prog rock, southern rock and true pop sensibilities on Red Album, and have damn near perfected the formula they started to delve into there. Blue Record is the sound of a band firing on all cylinders, on every track.

Now what Baroness do is entirely different from what their hard rock brethren in Torche and Queens of the Stone Age (generally) do. While the latter are making groovy, heavy ass pop songs, Baroness are taking heavy metal song formulas and injecting them with so much pop flavor and so many memorable, hummable hooks that it seems at any moment they might burst. But they don't. They never meander aimlessly. The songs are taught, sometimes perhaps even too concise and direct. That's how you make six minute tracks seem to fly by in two.

Sure, Baroness have a bit of work to do in the vocal department, if only because they are seemingly demanding the maximum of themselves from a songwriting perspective in every other arena. The instrumention is beyond disgusting, but I think Baroness - scary as this is - can improve. Perhaps the third full length record will see vocals that reach into classic rock territory a la Mastodon's Crack the Skye (whether Mastodon can replicate those vox live being an entirely different discussion). And if Baroness can do that (which is to say pull off truly epic, soaring melodic vocals) well, there might be no better band on this earth. Because they've got just about everything else I personally look for in a band. Amazing, unique riffs that sound familiar but yet not quite like anything else I've ever heard - a bizarre blend of Melvins weirdness, southern rock tones and grooves, and math rock complexity. MEGA hooks - lead vocals, choruses, guitar solos, chord progressions and riffs I just can't get out of my head. Massive heaviness, galloping drums, fiery twin lead guitar work - a band comfortable channeling Iron Maiden, Mountain and the Melvins in the same song. A sense of scope, drama and timing that would make Explosions in the Sky and Pelican proud. Spectacular artwork from guitarist/singer John Dyer Baizley. Blue Record is the total package. This kind of band and this kind of record don't come around the block that often. Enjoy.

The state of today's popular music landscape may lead the music connoisseur to become bored with the endless cookie-cutter offerings from fabricated "American Idols" and over-the-hill rock icons. But once every so often a record that defies convention and provides a much-needed glimmer of hope that originality in the hard rock/metal genre appears. Baroness, the progressive-metal four-piece from Savannah, Georgia, has delivered such an album with its latest magnum opus entitled: Blue Record. Baroness has taken the standard idea of what a great metal album can be and has elevated it to a whole new level. Baroness uses an array of shifting dynamics, top-notch instrumental performances and tight songwriting, all packaged together with non-cliché cover art, to produce the metal album of 2009.
The talent and skill that the musicians of Baroness possess on Blue Record are evident in every song throughout the album. The twin guitar interplay of John Dyer Baizley and Pete Adams provide many of the highlights on the album. Baizley's electric guitar leads and intricate melodies provide many opportunities for Adams to harmonize in ways reminiscent of the legendary performances of Thin Lizzy. Guitarists Baizley and Adams display great chemistry throughout the album. They complement each other's styles well and are able to harness their chemistry and create many sonically diverse layers and textures. The rhythm section hold up their end and deliver the yin to the guitarists' yang. The driving rhythms of drummer Allen Blickle and bassist Summer Welch provide a solid base for the guitar performances of Baizley and Adams to shine throughout the record. Blickle's tight jazz-inspired percussion work throughout the record keeps up the frantic pacing of the higher tempos while providing the groove for the slower tempos.

Baizley's intense vocal delivery throughout the record provides another layer to Blue Record. Unfortunately, Baizley's vocal delivery is also the one element of Blue Record that did not reach the same level of excellence as every other aspect of the album. While Baizley has improved his vocal skills greatly from previous Baroness records, he has delivered an overall uneven performance on Blue Record. Baizley's gravelly voice commands attention in songs in which he hollers and shouts his cryptic lyrics. Baizley contrasts his abrasive bellowing throughout the album with a collection of quietly sung passages on a select few tracks. Luckily, Baizley's vocals are not the focus of Baroness' songwriting and do not take much, if anything, away from the overall greatness they have achieved on Blue Record.

Baroness uses a multitude of dynamics, the changes in sound intensity and volume, in not only each song on Blue Record, but in also how the order of the songs sequenced. These varied dynamics play an integral piece to its success as an album, rather than a collection of songs. The lush guitar harmonies of instrumental tracks, "Bullhead's Psalm" and "Bullhead's Lament," bookend the album perfectly. The sonic journey that happens between these two tracks takes the listener on a dynamic rollercoaster ride that reaches several triumphantly bombastic highs and somber lows. Once the final note of "Bullhead's Psalm" has faded away, the thrash-inspired guitar riffs of "The Sweetest Curse" rush out and propel the album forward. Baizley's addition of acoustic guitar and piano on "Steel That Sleeps the Eye" give the listener a pleasant respite between the hard rocking tracks of "Jake Leg" and "Swollen and Hallow." The soaring guitar refrain of "Ogeechee Hymnal" provides a much-needed lull before the album's centerpiece track, "A Horse Called Golgotha." "A Horse Called Golgotha" is a song that showcases everything that Baroness does well on Blue Record and displays their songwriting craft beautifully. The driving rhythms, varied volume and tonal dynamics, energetic guitar solos and sing-along choruses provide a crushing exclamation point to the first half of Blue Record.

The second half of the record further displays Baroness' deft ability to effectively use dynamics to keep the listener interested. The acoustic intro of "O'er Hell and Hide" gives way to a galloping rhythm that is punctuated by a section of soaring three-part guitar harmonies. The bluegrass tinged acoustic guitar interlude "Blackpowder Orchard" does a good job of allowing the listener another welcome breath and break up the more raucous tracks "War, Wisdom and Rhyme" and "The Gnashing." Once the last notes of the final track "Bullhead's Lament" have faded away, the listener is amazed that the 44 minute 25 second album runtime has come to a seemingly abrupt end. The overall dynamics and pacing of the album ensure a listening experience full of variety that neither stumbles nor tires and feels much shorter than advertised.

Finally, the diverse and artistic nature of Baroness' songwriting on the Blue Record is married with lead guitarist and songwriter John Dyer Baizley's intricate and haunting cover artwork. The highly detailed composition mirrors the complexity of Baroness' songwriting on Blue Record. The intricate nature of the artwork elicits feelings that it is a work of art and not merely an album cover. The ambiguous cover image does not immediately give away what is contained inside nor does it make it obvious as to which genre Baroness' Blue Record belongs in. The cover artwork conjures up nostalgic images of rock `n roll album covers from the sixties and seventies and could easily sit on the same shelves as records from the Grateful Dead, Pink Floyd and Led Zeppelin. The image is a fantastical depiction of two nude maidens lounging in an area of lush vines, flowers, feathers and poppies whilst being surrounded by several fish of different species in front of a full moon. The image appears to be steeped in metaphors, the meanings of which may only be known to the artist himself. Everywhere in the composition there is some new visual nugget to discover, including a rooster head atop one maiden's head with chicken eggs falling down her breast--some breaking--and a large channel catfish sitting on the lap of the other. The inside pages of the booklet display the cryptic lyrics for every song on the album. On each page is a unique abstract border surrounding the text. These border designs vary from a simple circle surrounding the text to flowing and twisting lines or gilded patterns that tie the entire package together.

Baroness' highly ambitious attempt at sonic perfection delivers on many levels--sonically and visually. Catching lightening in a bottle, Baroness' use of changing dynamics and intensity from hard-driving rhythms to delicate melodies provides a thoroughly entertaining experience. The skillful use of sonic diversity, songwriting and performances and visual artistry combine in Blue Record to form the best metal record of 2009. Baroness has delivered an album that is so complete that it demands to be listened as a whole and not only as a few notable "singles." Baroness has continued their exciting trend of producing great albums that have helped to keep the LP and record player relevant in an age of Internet downloads and iPods. I recommend Blue Record to anyone who desires a challenging, yet immensely rewarding, listening experience.

First off, I got this because of the comparisons to Mastodon and Kylesa. I'm a huge fan of both bands so I'm obviously interested in anyone that sounds like them. So does Baroness sound like Mastodon or Kylesa? I suppose similarities exist. The proginess of the band is similar, but overall I think this is a far lighter album than Maston's CTS or Kylesa's Static Tensions.
In fact, this album isn't really in the same category as those two bands. To me this is a stoner rock album, because it combines elements of psychedelic rock, blues, and doom metal. Most of the album is slow-to-mid tempo and it features the typical bass and low tuned guitars of metal and incorporates melodic vocals. Track number 4 "Steel That Sleeps The Eye" has 60s style vocal harmonies. It reminds me of something by Simon and Garfunkle.
Track 10 "Blackpowder Orchard" sounds like something from that decade as well. The acoustic guitar work has that retro production feel to it. It leads right into another track with a similar intro, "The Gnashing". The song picks up the pace a bit, but it doesn't ever get heavy. At least not any more heavy than something by Queen or Zepplin would be called heavy.
I'm not saying the lightness of the album is a bad thing. I like it. However, those of you shopping for a metal album that you can thrash around and smash stuff to aren't going to be happy with this one.
This album is serene, peaceful and very mellow at times. For that reason it sounds fresh to me. After all, there are plenty of aggressive metal bands out there already. This is very melodic music, and I like it.

I've been looking forward to the release of the Blue Record for most of the year. What strikes me first about this album was that it is not as instantly gratifying as the Red Album. I wasn't sure what to make of the new vocal territories they were exploring and experimenting in. While I do feel that the vocals were better recorded on the Red Album, Baroness continues to impress one of the more interesting approaches to metal vocals in recent years. For example, the vox on "Jake Leg" and "A Horse Called Golgotha" aren't quite screaming, or singing but are more along the line of Viking drinking songs.

Of course the very best part of Baroness is the rabid interplay between guitarists. The solo work isn't like the kind of utter refuse that's made en masse nowadays by the booming metalcore scene. The guitarwork swims, flies, invites you like your soul mate moaning through a speaker; tracks that particularly stand out are "Swollen and Halo," "Horse," and "Bullhead's Psalm/Lament." The bass is more audible than ever before. The drums are MASSIVE.

Here are some bottom lines: While the Red Album blows you away on first listen, the Blue Record hynotizes you. Give yourself some time, because this is the kind of album that demands listening all the way through, without interruption. For added effect, I HIGHLY reccommend listening to both Red and Blue sequentially.

Kinda surprised no ones reviewed this album yet. Well I guess I will. Upon first listen I suspected a little difference in the musical direction but as I listen more an more it stays on the same path a bit. I picked up that the band seem to be playing around with melodies a bit more than the previous album and the songs seem to be structured a little better, they sound more like songs than ideas or movements now. One track (A Horse Called Golgotha) stood out the most and is by far the best song on the album imo. With that said the rest of the songs are strong and have their moments. You can really hear how this band has matured and I look forward to the next release whatever colour it may be.

Yes, this IS as good as people say. They gush about it as if it's the best thing since sliced bread, and that's because it is. I have listened to this album in its entirety at lest 13 times in the past week since I received it as a gift. Before this, It was Mastodon, Every Time I Die, Black Dahlia, BTBAM, Converge, and The Number 12 Looks Like You as my list for best albums of the year. Well now it's this:
1. Blue Record, 2. Blue Record, 3. Blue Record, 4. Blue Record, 5. Crack the Skye.

What makes this record so phenomenal, well it's the atmostphere and emotion. No album I have ever listened to has given me such a deep sense of feeling in the music. I listen to everything from Iron and Wine to Anaal Nathrakh, and it hasn't been since I discovered Wolves in the Throne Room that a band has create such a memorable and fulfilling musical experience. I believe this to be credited to the albums recurring meoldy, first heard in the intro track Bull Head's Psalm, a simple and beautiful handful of notes strung together into what is very much the foundation for the album, upon which everything else is built.

The intro whirls out and we are thrust from psychedelic melody, into a heavy and sludgy beast called The Sweetest Curse. The title says it all, the dual vocalists(John Baizley and Pete Adams) howl and shout hauntingly catchy curses, while their guitars pummel you with both buzzing, crusty, entombed-esque ferocity, and sweet melodies, strumming along at the end of the track into Jake's Leg. While not quite the fist pumper as the previous track, it still offers all the same high points, and even more vocal hooks to dig deep into you and drag you into the much softer and cleaner Steel that Sleeps the Eye. It's essentially the prequel track to Swollen and Halo, the longest and one of the most psyched out tracks on the record. Then back to that opening riff, this time in Ogeechee Hymnal, and this time it gets a touch of that buzzing guitar tone.

Then over the horizon comes A Horse Called Golgotha, without a doubt my favorite track on the album. The bass, played by Summer Welch, really shines here. In fact, the entire second half of the record shows of the musicality of the band much more, where as the first half was about letting you rock out. Everything on a Horse Called Golgotha is damn near perfect. I guess that's why they made it into a music video.
Then we are dropped into the spiraling bass and drum centric O'er Hell and Hide. No vocals here, except for a pre-recorded and muffled reading of a poem, and a few distant shouts from John and Pete, but that's okay because it lets us focus on Allen Bickle's dizzying drum work. After the spinning stops, we find ourselves at War, Wisdom and Rhyme. Not exactly the best track on the album, but still worth the time to listen. Because after that comes the amazing instrumental Black Powder Orchard, offering blues and blue grass style guitar work with Baroness's trade mark sound.

And now we see the end of this blue-tinted tunnel, and we are guided through it with The Gnashing, another southern-tinged monster, it has the build up of a good final track. You won't understand until you hear it yourself. You really feel like this is the final climactic push of our quest into the great, deep and mysterious Blue, and we are about to emerge victorious.

And as we feel ourselves taking those final few steps while the song winds down... The Blue Record riff returns, for the final outro Bullhead's Lament, allowing us time to reflect upon the masterpeice we have just witnessed.

Too frilly for you? okay well here's the deal. This is the best elements of prog, rock, heavy metal, sludge and even crust mixed together into a formula that works. This is for fans of bands like Kylesa, Yob, High on Fire, and Mastodon. It's for lovers of Entombed, Disfear, and Wolfbrigade. Coheed, He is Legend, and Fall of Troy enthusiast can find something to love here, too. It provides the same eerie and woodsy atmosphere the Wolves in the Throne Room followers will relish.

This is by far, the best record of the year.

Three spins so far... new things found in everyone of 'em. This is the type of release where you would usually go "they just can't top 'red album'" (previous effort) but then the music kicks in, grabs ya', and simply won't let go. Every single song is necessary, urgent and colossal... Baroness takes the top spot for me because they have taken the hard road, they have jumped off the trendy bandwagon and decided to go against the waves, they have made a record with the sole intention of falling in love again with music. Great songwritting, excellent (not-so-polished) production, and harmonies, melodies and blunt regressions to eternally bang your head to... plus, get this deluxe edition with a live CD from their Roadburn festival appearence.

Lets face it, 2009 was a great year for music. But Baroness is out there on top. This band will go somewhere... this band reminds me so much of a young Mastodon... except, I would go even as far as to saying they harmonize better and write better riffs. I especially love it how the drums go along with the guitars, you dont get that much these days. The vocals are amazing, not for everyone, but to me, their golden. I gotta say, I love this album, every time I listen to it again, I love it even more. WELL worth the money.

A very very very good album. Although not as good as the Red Album in my opinion. This record is nonetheless worth every penny you pay for it.