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- #Alice in chains unplugged backing track professional#
The final third of the album feels grander and more intricate with longer songs at a slightly slower pace. Harmonies, choruses, solos, electro-acoustic sections, it’s got the lot. Stripped back and structured around one simple but catchy riff, it includes all the trademarks you’d expect of Baroness.
This track could well be the calling card for Baroness in 2023. One of the standout tracks is “Anodyne”, and while it only clocks in at just over three minutes, it packs one hell of a punch. When listened to in its entirety Stone grips you like a good book, and the further in it pulls you the more hooked you’ll become. It keeps you on your toes, never knowing which direction they are going to veer in next, which adds to the energy and charm of the album. The band are constantly experimenting throughout, whether it be with the varied vocal delivery, atmospheric soundscapes, or folk music influences (more on this later). You could say that Baroness have gone back to basics, and in some ways, they have, but it’s not quite as simple as that. It conjures up memories of Iggy Pop’s guest turn on White Zombie’s “Black Sunshine”, which is in no way a bad thing. This schizophrenic trip of a song seamlessly blends into the more avantgarde and eerie “Choir” which sees the spoken vocals return but get even darker. It’s got more twists and turns than a Gordian knot, but it still flows, which is no mean feat. “Beneath The Rose” continues the weighty album opening, with yet more huge riffs partnered with a smorgasbord of vocals, including jarring spoken word, guttural screams, anguished cries, off kilter chants and yes, those incredible distinctive harmonies. There’s a particularly sick guitar solo which backs up this theory. The track glides along with confidence and ease, as though it just poured out the group and was meant to be. Frenetic drums carry the song and are accompanied by some delicious harmonies between Baizley and Gleason. The first single from the album, “Last Word”, is a straight up banger and will get heads nodding with chunky riffage that their Georgian brethren Mastodon would be proud of. Whether this was a direct reaction to the mix criticism of Gold & Grey or not, it has certainly paid off, because the album sounds great and suits the heavier more direct songwriting on display. They did, however, get two of the best guys in the business involved for mixing and mastering duties, Joe Berresi (Tool, Slipknot, Alice In Chains) and Bob Ludwig (Led Zeppelin, Metallica, Nirvana).
#Alice in chains unplugged backing track professional#
In fact, Baroness didn’t step foot in a professional recording studio for Stone.
This could be due to the band recording songs as they wrote them in a large, vaulted ceiling Airbnb.
For starters, the production is crisp and clear but there is also a live, spontaneous feel to proceedings. Stone feels immediately like a very different beast to Gold & Grey. The question is, would they dare to deploy a similar sound on their latest album?
Clearly the mix was a creative choice and one I’m sure was made with careful consideration by the very talented Baizley and co.
#Alice in chains unplugged backing track full#
But was it as bad as the uproar made it out to be? Part of the problem could have been that it was such a fine album, full of soaring epic rock anthems, that it was one of the only negatives people could latch on to. The lo-fi, fuzzy, 1970’s sound was certainly challenging at times, as some elements struggled to be heard. It split the crowd like a particularly feral wall of death at a Harm’s Way gig. To say this was divisive would be an understatement. Before we go any further let us address the elephant in the room, the controversial mix and production of the last BARONESS album Gold & Grey.
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