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Opener "Front Toward Enemy," with its bass-throbbing heavy fuzz, may recall the band's earliest days, but the gorgeous layered vocal harmonies offset the aggression. "I'm Already Gone" offers the first taste of a real stylistic shift displaying an unmistakable admiration for the Cure's Pornography in its melodic and vocal lines. Some tracks serve as intros/interludes. Baroness have played with them in the past but never to the fully fleshed extent they do here. They range from gentle piano themes in "Sevens" to evocations of noisy, 21st century Krautrock on "Can Obscura." "Tourniquet" opens with a direct nod to Big Star's Third before changing directions toward a midtempo slammer. Loopy, acid-drenched psychedelia emerges on "I'd Do Anything," and "Assault on East Falls." While "Throw Me an Anchor" is an anthemic prog metal jam, "Emmett: Radiating Light," is a halting acoustic number with bells, a processional upright piano, and intricately layered vocal harmonies between Baizley and Gleason that deliver dazzling results. While "Borderlines" nods at Kyuss' desert rock, closer "Pale Suns" crisscrosses near-Baroque vocal harmonies with brooding sludge, King Crimson-esque prog, and squalling post-metal à la mid-period Killing Joke. In lesser hands, this wild, unruly amalgam of musical and playing styles and songwriting would result in a mess -- Baroness themselves couldn't pull it off on Yellow & Green. But here, thanks 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.
|A1||Front Toward Enemy|
|A2||I’m Already Gone|
|B1||Throw Me An Anchor|
|B2||I’d Do Anything|
|B3||Blankets Of Ash|
|B5||Cold Blooded Angels|
|C5||Assault On East Falls|
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