Perhaps just as importantly, Baizley’s visual art - which always adorned Baroness releases - had blossomed into a kind of Aubrey Beardsley fantasy world of half-naked Victorian-looking young women surrounded by birds and flowers. The songs were less anchored and more airy Baizley’s voice could soar, it turned out, and their guitars frequently rang out when lesser bands might have stuck to a post-grunge roar. On Red Album, though, things clicked in a big way. Those early EPs were fairly undistinguished psychedelic sludge if you liked other Savannah bands like Red Fang, Kylesa, and Black Tusk, Baroness would have felt familiar but hardly revelatory. The frequent membership changes mirrored the evolution of the band’s music. By 2009’s Blue Record, Brian Blickle was out, replaced by Pete Adams. Loose left and was replaced by Blickle’s brother Brian that lineup recorded Red Album, the group’s first full-length and Relapse Records debut. That lineup made two EPs ( First and Second) and half of a split with Unpersons. Instead, it almost destroyed them.īaroness was formed in 2003 by guitarist/singer John Dyer Baizley, second guitarist Tim Loose, bassist Summer Welch, and drummer Allen Blickle. Yellow & Green, Baroness’ third full-length, which turns 10 this Sunday, should have been a triumphant fanfare as they arrived at the top of the mountain to stand alongside Mastodon as the future of Southern heavy rock. Less than two months later, there were very serious questions about whether they would continue to exist at all. As the summer of 2012 began, the Savannah, Georgia art-metal quartet Baroness were on the verge of an artistic and commercial breakthrough.
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