The Men are busy. Formed in Brooklyn in
2008 by co-frontdudes/guitarists Mark Perro and Nick Chiericozzi, the
current five-piece has dropped five albums in the last five years, the
last four for its hometown label Sacred Bones.
“Feel the Chill,” the first song on Blitzen Trapper’s latest, 2013’s succinctly titled VII, finds the Portland, Ore., outfit in new territory — it sounds like Kid Rock doing Mellow Gold-era
Beck covers, its funky beats, harmonica flourishes and Southern-fried
guitar lines almost enough to inspire dance-floor movement.
Kimberly A. Hamlin’s new book, From Eve to Evolution: Darwin, Science, and Women’s Rights in Gilded Age America chronicles the works of several Darwinian writers who sought to prove that woman are not inferior to men.
The cover of Grieves’ fourth full-length album, Winter & the Wolves,
features the Seattle-based rapper standing in a wintery landscape, his
black-clad frame engulfed by snow and ice. He’s holding a pickaxe, as if
ready to take on whatever challenge might come his way. It’s a curious
cover art choice in a Hip Hop world often bound by conformity.
Potty Mouth features four ladies who call Northampton, Mass.,
home, which makes sense — the band’s full-length debut, last year’s Hell Bent,
sounds like it hails from the same place that spawned Dinosaur Jr.,
with noisy, interlocking guitars evoking a distinctly early-’90s vibe.
Has it really been nearly a quarter
century since Alice in Chains broke Seattle’s mainstream Grunge seal
with “Man in the Box”? A lot has changed since that bluesy, metalized
wail dominated Rock radio, the most obvious being the 2002 death of
singer Layne Staley, whose drug issues long hampered the band’s
Lincoln Rhyme is the best forensic detective in the
United States. He’s also the creation of best-selling author Jeffery
Deaver, whose first Rhyme novel, The Bone Collector, had the crafty detective investigating a serial killer who terrorized New York City.
Tegan and Sara’s seventh full-length, last year’s Heartthrob,
is a sleek, synth-driven affair rife with the twins’ interweaving
vocals and enough hooks to power a dozen less-accomplished albums. It
represents the culmination of an evolution that has seen the
raven-haired Canadians move from Lilith Fair-nurtured, Indie Folk
upstarts to masters of perpetually heartsick Pop Rock.