Words: Steve Knapp

It would be quite an understatement to say a lot has changed with Baroness since the release of Yellow & Green. Most notably (and regrettably) being the tour bus accident that put the band on an unanticipated hiatus while touring in the UK; a crash that nearly destroyed the band. The event was so catastrophic it caused lengthy hospitalizations and brought about the departure of their rhythm section, leaving fans questioning what the future held for a band that just released what seemed to be the most ambitious record of their career. But the pain and struggle they fought through has given way to hope and excitement with their latest release Purple. Each song is filled with an agonizing power and a tone of victory in the face of struggle: a grandiose rebirth from the ashes of a burning wreck. This is the album they needed to record and the one we all so desperately wanted to hear.

“We didn’t want to make a mellow, sad, dark thing. We needed to be up-tempo. We needed to be melodic, and it also needed to be aggressive. In all of that, I think we were able to get out everything we felt, all of the emotion involved, everything from being angry to wanting to continue to push forward.” – Pete Adams

This is a comeback that sees cogs meshing and musical relationships flourishing, both old and new, that features new bandmates Nick Jost (bass, keyboards) and Sebastian Thomson (drums) after the departure of their predecessors. This duo melded together to lay down a foundation of rhythm that has helped usher in a new peak for a band with an already storied career. The tones they’ve brought to the table ride right beneath the surface with a hint of distortion and fuzz to inject a unique energy and creative nuances into each composition. They’re aggressive yet restrained, King Kong in a cage, breaking free at all the right moments to bolster an already gigantic sound.

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In the world of vocals, it would seem Pete Adams’ cleans and John Baizley’s growls have found the levels they both work together to shine. It’s a clearer style that respects the aggression that brought them to where they are now while also fusing seamlessly with the music that shimmers with vibrancy today. And while the shift toward cleaner vocals over Baroness’ last two albums has moved the group further away from their roots in a more metal sound, they are by no means sacrificing the artistic vision fans fell in love with they released First.

It’s in their innovative yet reverent guitar work, however, that Baizley and Adams have truly upped their game. The harmonized solos the two bring to the table are anthemic and awe-inspiring. Wild enough to keep things interesting without becoming overly indulgent—exactly the right parts at exactly the right times. At home with the likes of Thin Lizzy or Queen, they dance on top of the already intricate music—an exercise in enhancement rather than a noodley blaze of pure technical ability—bringing out goosebumps in the toughest of skin.

All of these parts come together under the creative helm of producer Dave Fridmann (The Flaming Lips, Sleater-Kinney) to create a master class in the right way to evolve as a band. Perhaps it’s the combining of new and old that keeps the Baroness tradition alive while also pushing their limits as artists, or maybe it’s their intense desire to come back guns blazing from a setback that would crumble the less determined. Whatever it is, I am speechless.

In what might be one of the best years in music in recent memory, Baroness just took it over the top. They’ve changed their game and in doing so they’ve changed the game for everyone else. Simply put, Purple is the album that solidifies the four-piece as a generational talent in not just the hard rock and metal world, but in music as a whole.

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Score: 4.8/5

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