#alex jost

[mumblingsofmemory]

Margot Gajewska by Alex Jost

[thingsmk1120sayz]

We happen to have some Beautiful men on the Buffalo Sabres

[snorky]

new buffalo sabres pics just dropped 💙💛

via buffalosabres on instagram

[6erikjohnson6-8calemakar8]

is it just me or do yall find it adorable when hockey players have the little visor cut on their cheek after a game ie. tyson jost ,alex newhook or gabe landeskog ,and it never really seams to go away its just there

newys is on his nose but still, i cant find the pic of gabe that im thinking about bit i just think its cute :)

[jeffskinnerswh0re]

what do i have to do to speed date tyson.

[marchyslove]

Jeff Skinner, the man that you are

[frankzhangsbow]

jt saw his boy scored and decided to show up for a game 😭😭😭

[mumblingsofmemory]

Antonella Lee (not her real name according to her IG!) by Alex Jost

[elposting]

jason sudekis and alex moffat and colin jost would make flawless kevin prices tbh

[somuchf4rstardust]

[thingsmk1120sayz]

[dare-g]

Getting Stoned with Caveh

[sinceileftyoublog]

Baroness, Portrayal of Guilt, & GOZU Live Show Review: 6/9, House of Blues, Chicago

From left to right: Baroness' Gina Gleason, John Dyer Baizley, Sebastian Thomson, & Nick Jost

BY JORDAN MAINZER

Even if it wasn't nearly as critically acclaimed as their first five records, Baroness' sixth album STONE (Abraxan Hymns) was a showcase for the long-running metal band's versatility. At the House of Blues on Sunday night, they played only a few songs from it, but each choice reflected that song-to-song differentiation while blending in seamlessly with the rest of the set. From the time they launched into "Last Word", lead vocalist and rhythm guitarist John Dyer Baizley and lead guitarist and backing vocalist Gina Gleason showed off their vocal harmonies, an impressive feat for a band as loud as they are. Nick Jost's limber bassline and Sebastian Thomson's slow-rolling drums buoyed the burning "Under the Wheel". And the band came together beautifully on "Beneath the Rose", whose performance exemplified a Baroness show in 2024. That is, you had Thomson introducing the song with a drum solo, Gleason beckoning the crowd to cheer him on, Thomson delving into something unexpected--a pseudo disco beat--before the rest of the band blasted along, Baizely's vocals occupying the guttural end of the spectrum. In other words, these days, the quartet is simply psyched to play, loose, but still able to turn it on, on a dime.

Gleason & Baizley

Gleason, Jost, & Baizley

Baizley & Jost

Baizley

Jost

Gleason & Baizley

Indeed, the current lineup of Baroness has been playing together for 7 years at this point, and they expertly work the crowd while still finding room for improvisation. They've penciled in "A Horse Called Golgotha" third, which feels like when a MLB manager finds their perfect leadoff hitter. On Sunday, after two new songs, the Blue Record cut's instantly recognizable introductory riff primed the crowd to ramp up the intensity and get ready for a barrage of classics. "March to the Sea" was still an absolute banger, while "Green Theme" was as brawny and beautiful as ever, its skyward riffs and muscly drums trading barbs with subtle picking that was as worthy of Crazy Horse as it was metal. On emotional Purple highlight "Chlorine & Wine", Thomson's drums cascaded like a thunderstorm, while Gleason's guitarwork during the song's breakdown twinkled with the hum of Midwest emo. Gleason, in particular, remained a thrill to watch, at one point during "Shock Me" ripping a guitar solo while making a face like even she couldn't believe the sounds coming from her axe.

Baroness

Baroness

Baroness

Baizley

Portrayal of Guilt's Matt King

Portrayal of Guilt's James Beveridge

Portrayal of Guilt's Alex Stanfield

Opening for Baroness was two bands who, fittingly, mirror the harsher and more melodic sides of Baroness: Austin black metal giants Portrayal of Guilt and Boston stoner metal outfit GOZU. Coming in, I was particularly excited to see the former; their twin 2021 records both made SILY's year-end albums list, while last year's inventive Devil Music (Run for Cover) consisted of half the usual metal and half fucked-up chamber music. Of course, there were no classical stringed instruments to be found on stage, but Portrayal of Guilt used the effects at their disposal--sampled vocals, pulsating synth bass, a pedal board--to create an atmosphere that was just as disorienting as it was cathartic. Live, they were able to stay faithful to the layered cacophony of their studio material while being dynamic enough to be captivating. Matt King's vocals alternated between icy scream and jarring growl on "When Angels Come to Die". He even treated us to a deadpan baritone on the motorik breakdown of "Burning Hand". James Beveridge's drum work was breathtaking throughout, whether imbuing "Devil Music" with blast beats or more subtly shifting into syncopated post-punk on CHRISTFUCKER'S "Fall From Grace". King's guitar tones, too, were impressive, atonally twangy when introducing "The Sixth Circle" and chirping on set closer "The Crucifixion", the latter of which could have passed for Fugazi were you to take away the vocals. There was a small portion of the crowd there to see Portrayal of Guilt--you could tell by the merch-clad mosh pit goers--so when King asked whether anyone in the crowd had ever heard of them, he was happy at the rapturous response. "Respect to Baroness," King said before the set ended. "You don't often see a band like them have a band like us on tour with them."

Portrayal of Guilt

King

GOZU's Seth Botos and Marc Gaffney

From left to right: GOZU's Doug Sherman, Joseph Grotto, Botos, & Gaffney

And then there's GOZU, who, at times, resemble the stoner metal you're used to, and other times, inject a subgenre that can be slow and stoic with humor and show. They performed mostly from last year's Remedy (Metal Blade), chugging standouts like "Tom Cruise Control", "Joe Don Baker", and "Rambo 2". (If you think those song titles are funny, check out lead vocalist and guitarist Marc Gaffney's Sleep-style baseball shirt that said "Cher".) "The Magnificent Muraco" saw epic wordless vocal harmonies from Gaffney and drummer Seth Botos, while lead guitarist Doug Sherman supplied meaty riffs. Despite how much GOZU's instrumental style is rife for drawn-out jams, they played a lean set, to the point, emphasizing the blues stylings of "Bald Bull" from The Fury of a Patient Man and the deft tempo changes of set closer "CLDZ". That's not to say Sherman didn't rip virtuosic, stadium-sized solos--he did--but GOZU, like Baroness and Portrayal of Guilt, were in control, purposeful in every move.

Grotto

Sherman

[6erikjohnson6-8calemakar8]

thinking about them....

sometimes all i think about is you…