Asked in a recent interview with Sound Dessert
about who they’d like to tour with, The Ghost Wolves dropped this
collection of luminaries: “JEFF The Brotherhood, The Kills, Jon Spencer
Blues Explosion, Black Sabbath, Kadavar, The Black Angels, Jack White,
Diarrhea Planet, Drivin’ N Cryin’ — those are some of the tops. We wish
The Cramps were still around, that would’ve been fun. We love Poison
The first minute of White Hinterland’s new album, Baby,
features nothing but the voice of Casey Dienel. “Circle the block in my
car/Gotta keep it down/The world is so full of noise/It’s easy to go
unnoticed,” she sings in an assertive, slightly vulnerable and quite
Mondo-selling author Jennifer Weiner’s just-published new novel, All Fall Down, centers its narrative on Allison Weiss, a wise-ass wife, mother and writer whose seemingly perfect life is altered by an addiction to prescription painkillers.
“Drive-In Movies,” the last song on Ray LaMontagne’s latest album, Supernova,
is a nostalgic ode to the past in an album teeming with retro
flourishes: “I miss those drive-in movies/I spent all my childhood years
wishin’ that I looked like a movie star.”
changing. Nowhere is this fact more apparent than in our once-sleepy
downtown. From The Banks to Over-the-Rhine, from Fountain Square to
Washington Park, the urban core is alive with activity.
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.