- Record Label: Abraxan Hymns
- Release Date: Jun 14, 2019
- Summary: The fifth full-length release for the hard rock/metal band is the first with new guitarist Gina Gleason (Peter Adams left the band in 2017).
- Record Label: Abraxan Hymns
- Genre(s): Pop/Rock, Heavy Metal, Progressive Metal, Sludge Metal, Post-Metal
- More Details and Credits »
Positive: 14 out of 14
Mixed: 0 out of 14
Negative: 0 out of 14
Kerrang!Jun 13, 2019By trying to annihilate what's gone before and truly raise themselves higher, they've created a special record, with a depth that will still have you under its spell a decade from now. [15 Jun 2019, p.53]
Jun 11, 2019To say this album is epic would be an understatement; it’s a work of art in the truest sense.
Jun 11, 2019Baroness currently find themselves in a place of great maturity, exhibiting superb musicianship. It’s fitting for Gold & Grey to be the conclusion of the band’s color-themed albums. The array of instrumentation and emotion throughout not only make Gold & Grey a joy to listen to, but also an achievement of which Baroness can truly be proud.
Jun 14, 2019Thanks to maturity, Fridmann's mix, and uncanny sequencing, every song fits seamlessly inside each proceeding one, delivering a mercurial yet satisfying whole that makes Gold & Grey the band's finest outing to date, if not their masterpiece.
Q MagazineJul 2, 2019Stellar fifth album is a determined attempt to push back the genre's long-established boundaries, folding in everything from glitchy electronica and lysergic Americana to gnarled pop into their full-frontal noise. [Aug 2019, p.108]
Jun 25, 2019Baroness convince their disparate influences to gel beautifully without lapsing into the homogeneity (or self-indulgent drudgery) that remains a common defect of long, proggy albums. The second half is noticeably quieter and spookier than the more bombastic first half, easing down gently into more melodic and even acoustic fare.
Classic Rock MagazineJun 26, 2019Some space is wasted--the album would feel more concise without the ambient sonic interludes it's peppered with--but when they hit their stride, as on the magnificent Throw Me An Anchor, Baroness seem unstoppable. [Summer 2019, p.86]
Positive: 19 out of 30
Mixed: 4 out of 30
Negative: 7 out of 30
Jun 14, 2019Great compositions to make this album worth listening to. Definetely one of the best albums of 2019. Screw those guys who just created anGreat compositions to make this album worth listening to. Definetely one of the best albums of 2019. Screw those guys who just created an account to score the album 0. And one of them also gave Marvel's Spiderman a very low score.… Expand
Jun 14, 2019The best album Baroness have ever done. And not only that. Its one of the best records this year, if not the best.
Jun 14, 2019Despite the mix is raw, they try yo go further of the new sounds explored in Purple.
It's a reinvention using elements of their four previousDespite the mix is raw, they try yo go further of the new sounds explored in Purple.
It's a reinvention using elements of their four previous albums as a cornerstone.… Expand
Jul 22, 2019Baroness have created one of the finest hard rock albums of the decade.
Now, one note: this isn't a "metal" album. It's certainly not anotherBaroness have created one of the finest hard rock albums of the decade.
Now, one note: this isn't a "metal" album. It's certainly not another Blue Record (recommended listening from Baroness before you pick this one up), although it does retain some of the left-field aesthetic of that album. If you're coming in expecting pummeling double kick and vocal-shredding howls, this isn't for you.
With that in mind, Gold and Grey stands head and shoulders above most of today's hard rock. The band displays a fine craftsmanship in their songwriting and performance. From the sheer passion of "Seasons" to the syncopated transition from "Tourniquet" to "Anchor's Lament," this is a highly rewarding listen. One step further, however, lies in the production. While many listeners immediately found reproach in the heavily distorted, crunchy sound of the album, I found it to be a daring artistic statement. Baroness don't conform to the norm; nothing here is clean or perfect, but Baroness also don't sacrifice dynamic range for the intensity of the production. Several very well done instrumental interludes throughout (namely, "Blankets of Ash") ensure that the entire album isn't jacked up to eleven. Also, while the distortion does obscure the drums and other components quite a bit, it brings the vocals to the forefront. It grants Gold and Grey a highly melodic quality which so much hard rock and metal music lacks. That’s why it’s such a point of contention between the average listeners and those seeking a more daring display of artistry. The production can be distracting at first, but in my book and after giving the album several listeners it's a definite pro.
Gold and Grey isn’t revolutionary. It probably won’t change the face of rock music. But it still stands as one of the finest displays of creativity from that genre in recent years, and as such deserves to be heard by anyone who follows hard rock. This is fine art. Challenge yourself. You won’t be disappointed.… Expand
Nov 28, 2021Really consistent and enjoyable. They have a great ear for melody and it all just fits together very well
Jun 19, 2019A really great album that is completely undermined by a distractingly terrible mix. I am a huge Baroness fan, and think John Dyer Baizley isA really great album that is completely undermined by a distractingly terrible mix. I am a huge Baroness fan, and think John Dyer Baizley is one of the most all around talented humans on the planet. The songwriting on this album is for me without question their best since Blue Album, and it pulls off the genre hopping they first really attempted on Yellow & Green much more effectively than ever before. In the hands of a different production team, I think it could've been their masterpiece. But man oh man, it is so unsatisfying hearing every section that should be a triumph end up a thin, muddy, over-distorted mess. Every component of the louder tracks is compressed to the point that all of the life is sucked out of the recordings. Purple had the same issues, and I can only assume that Fridmann, who has produced a bunch of great stuff for other groups, is behind them. I understand the production style was an artistic choice he and the band agreed on, but to my ears it's an objectively bad one. Baizley has said this is the last of their color themed albums, and I can only hope that it's also the last record they'll choose to have Fridmann produce; the songs they're making deserve better than to be sabotaged by such confoundingly terrible mixing.… Expand
Jun 18, 2019Found the album utterly boring, can’t understand some of the rave reviews being dished out here. Won’t be listing to it again.
Published: December 20, 2019We reveal the 40 highest-scoring album releases of the year, as well as some of 2019's bests and worsts in other music categories.
Published: July 4, 2019These were the best-reviewed new albums released during the first half of 2019.
Awards & Rankings
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