|
Saying that Baroness have strayed from metal orthodoxy with this, their third long-player, is to betray an ignorance of the sound and evolution of this Savannah foursome, who since 2003 have been wringing out more and more sheer beauty from a bedrock of sonic sludge. The excellent Blue Album (2009), on the basis of a few crooning tunes, could just as easily have found itself in the roots section of a record store, and the band's feel for multi-vocal harmonies and dynamic strummin' and pluckin' continues to blossom on this sprawling double album. Vocalist John Baizley is clearly coming from a screamer background, but here he tempers that tendency with lilting affectation (particularly on the '70s AM-radio-tinged refrain of "take me to a hazy Sunday morning" that propels the charming "Back Where I Belong"). Even in his most vein-straining moments, he channels that roar into the shape of an anthemic yelp, as on the positively Weezer-esque rollercoaster shout of "March to the Sea." In the '90s and '00s, when metal was "neutered" by grunge, this sort of classic-rock-ification of the genre resulted in the acoustic strumming and soulful harmonies of bands like Alice in Chains and a thousand bands that sounded just like Alice in Chains. Nearly 20 years later, though, the way that Baroness glide frictionlessly between downhome-ness and epic artiness, moments of rifftastic brute-rock and Steely Dan–y liquid lead guitars, just feels naturally dynamic rather than any sort of jarring genre rift. If that means that this record deserves to be compared less to the newest Lamb of God or Deathspell Omega assault and more to, say, the latest M83, then I say A-fucking-men and all-fucking-hail.
Related:
Various Artists | Casual Victim Pile: Austin 2010, Bearstronaut | Broken Handclaps, Molten metal, More
- Various Artists | Casual Victim Pile: Austin 2010
The notion that regional musical flavors exist independently in American cities is quickly becoming an archaic truism, seeing as how the world really is a stage these days, at least in the digital sense.
- Bearstronaut | Broken Handclaps
There's a distinct absence of wildlife or astronauts on Lowell electronica quartet Bearstronaut's latest release.
- Molten metal
Let’s cut to the chase — metal is back. And not just as a popular musical style, but as a subculture, freely seeping into the mainstream in a variety of strange ways, from the bullet belts you see on a dance floor to the devil horns being thrown by everybody and your uncle’s band.
- Avi Buffalo | Avi Buffalo
Look, I get it: the last thing we need right now is yet another band who can be described as “sun-baked,” “reverb-soaked,” or even just “psychedelic.” But Avi Buffalo (I know! An animal name to boot!) are worth your attention for a few reasons.
- J the S | The Last Days
J the S has been promising The Last Days since he went by Jake the Snake.
- The Punch Brothers | Who's Feeling Young Now?
For a group full of virtuosos, the Punch Brothers refuse to dole out prodigious string-murdering sessions.
- Ital | Hive Mind
If there was a broken-record knock against electronic music in the last decade, it's that it all sounded the same.
- Die Antwoord | Ten$ion
Moreso than any "controversially-lipped" chanteuse (to borrow from one of Lana Del Rey's many observers), South African rap/rave/meme/satire/knuckleheads Die Antwoord beg the question:"Is that all there is?"
- Van Halen | A Different Kind of Truth
Who would've thought Eddie Van Halen would still be innovative in his late 50s?
- Craig Finn | Clear Heart, Full Eyes
In the near-decade he's spent as frontman-lyricist of bar-rock saviors the Hold Steady, Craig Finn has hardly been labeled a happy camper.
- Cotton Mather | Kontiki [Deluxe Edition]
When it was released in 1997, Cotton Mather's sophomore album racked up glowing critical huzzahs across the pond (not to mention big-ups from Oasis), yet dudded here in the States.
- Less
Topics:
CD Reviews
, Music, Arts, CD reviews, More
, Music, Arts, CD reviews, Baroness, Baroness, Less