Presented by Tactics Productions
2709 Elm Street
Dallas, TX, 75226
Doors 7:00 PM / Show 9:00 PM (event ends at 11:55 PM)
Watch & Listen
BARONESS formed in 2003 in Savannah, GA, comprised of a group of friends who grew up together in Lexington, VA, a small town in the Blue Ridge Mountains.
Shortly after their formation, the band released two EPs and a split EP with Unpersons entitled respectively, First, Second and A Grey Sigh in a Flower Husk. From their origin right through the release of these EPs, BARONESS toured non-stop throughout America and Europe, building up a steady underground fan base.
In late 2006, the band began working on their first proper full-length, and debut for Relapse, Red Album. Recorded by Philip Cope (Kylesa), the album was a big step forward from the band's earlier material; they began to develop a sense of melody and song structure as a counter-balance to the EP's brute intensity. The release of Red Album saw the band touring world-wide and year-round for the next two years. The record received high critical praise, eventually garnering the #1 Album-of-the-Year slot in Revolver Magazine.
In between tours, and exactly two years after writing Red Album, BARONESS returned to the studio to record a follow-up record. The band enlisted the help of Grammy-nominated engineer/producer John Congleton (Explosions in the Sky, St. Vincent, Black Mountain, etc.). In 2009, Relapse released Blue Record, another comprehensive step forward for the band's ever-evolving sound. The record continued the band's growing sense of melody while directing the focus to an "album-as-an-art-form" concept. Blue Record was named 2009's Album-of-the-Year by Decibel Magazine, and made an impact on the Best-Of lists in publications as varied as Pitchfork, Village Voice, PopMatters, Revolver, Rock Sound and Metal Hammer.
BARONESS' mission statement has always been simple: keep an open mind, confront challenges, avoid repetition and take the music to diverse audiences. BARONESS toured constantly and extensively for two years straight with Blue Record, sharing the stage with such bands as METALLICA, MASTODON, DEFTONES, and ISIS. The band also played a variety of festivals, including Coachella (US), Oya (Norway), Bonnaroo (US) and Soundwave (AUS).
BARONESS took the year off in 2011 for the first time in nearly a decade in order to focus on writing a new and more challenging third full-length album. After a year of writing and refining, the band entered Water Music Studios in Hoboken, NJ with co-producer John Congleton to record Yellow & Green. Tracked in both Hoboken and Congleton's own Elmwood Studio in Dallas, TX, the new full-length will be released on July 17th.
Yellow & Green was released in July via Relapse Records and debuted at #30 on Billboard's Top 200 Album chart. The double-album was dubbed a "thrilling hard-rock epic" by Rolling Stone, the New York Times said the 18-track release included "a grand sprawl of riffs and ruminations" and Artist Direct, after awarding the band "Rock Band of the Year" honors said "they epitomize the spirit of the greats like Led Zeppelin and Black Sabbath, while remaining wholly unique. It's something we need more of. Baroness are everything that a rock band should be -- and more."
As the year came to a close, Baroness dominated year-end lists with Entertainment Weekly and Spin both naming Yellow & Green their #1 metal release of 2012 and iTunes awarding "Take My Bones Away" the distinction of best metal song of the year. Decibel (#2), Guitar World (#15), Loudwire (#4), Magnet (#12), Pitchfork (#3 on Metal Albums, #25 Best Albums of 2012), Revolver (#4), Stereogum (#18) and the Village Voice (#6) also gave the album top honors.
Internationally, the album fared similarly, receiving top honors from Terrorizer (#2), BBC Music (#13), Metal Hammer Germany (#4), Metal Hammer Norway (#4), Metal Hammer UK (#14), Close Up Sweden (#4) and Visions Germany (#4).
Stay tuned for more Baroness news.
John Baizley – guitars, vocals
Pete Adams – guitars, vocals
Over the past two decades, we've been bombarded with grunge, with shoegaze, with sludge, with doom metal, with post-rock, with slow-core, with all these examples of loud rock music that reach towards one extreme or another, the sole intent of which seems to be to bludgeon the listener into accepting what they conceive to be a "total sound," one which makes their effort more valid than the others around it, and by association, worthy of your reverence.
Denton, TX trio True Widow plays against type. Listen closely to their new double album As High As the Highest Heavens and From the Center to the Circumference of the Earth
and you'll notice something rare: a band that plays to the notions of the genres mentioned above, one which embodies the best characteristics of each but never repeats something that's been done. The understanding of space, balance, and method exhibited by True Widow is different enough to avoid the trappings of genres done to death; special enough to revere, and to pull away from memories of sounds that once wore you down.
Here is a band that has figured out how to play music that is traditionally recognized as "heavy" and "slow," on traditional rock instruments, in a way that few have been able to accomplish: a melancholy, meditative approach to songwriting and soundscape that draws you in. They figured this out in the space of one album, a self-released, self-titled debut from 2008. On As High As the Highest Heavens, they refine the work even further.
Big guitar, bigger drums and the biggest bass (played by D.H., Slim, and Nikki, respectively) effortlessly recreate the unending skies of prairie America, where storms blow across with fury, horizons are unencumbered by the choke of skyscrapers and electric light, and the atmosphere pushes you down. A rumbling backdrop of distortion churns away, both behind and within True Widow's plaintive song structures, but never overpowers it. Across a 50-minute runtime, the nine songs here range from excavated alt-rock anthems ("Night Witches," "Skull Eyes") to methodical epics like "Boaz" and "Blooden Horse," to triumphant bulldozers of sound like "NH," which splits the difference between dirge and hymn, the instruments staring into the ground while D.H. and Nikki's voices ascend to the clouds.
Plenty of you may balk at both the length and largesse expressed in the title of True Widow's new album, but once its powers seep into your skull, you'll likely find it impossible to doubt the magnitude of what's at stake here – a band that is singlehandedly breaking rank from accepted genres, and carving its own path into history.
$16 in Advance / $19 Day of Show