Throughout my studies at Athabasca University I have been encouraged to approach the world just a little bit differently and with an open and flexible understanding. I have spent hours mulling over a philosophical concepts originating from a culture much different from my own, determining the significant differences between an individualistic to a collectivist culture and its effects on behaviour, and I have been (metaphorically) walking alongside someone as they tell me what effects post-colonialism has had on them and their country. Thanks to my studies, I now have a much broader understanding and sense of the world.

However, when it comes down to the fundamentals of what brings people together, regardless of country, culture, race, or religion, I have always found that the lowest common denominator is music. And no other band embodies this unifying power of music better than Brooklyn-based Butcher Knives.

Boasting the creation of their own music genre, Butcher Knives? gypsybilly is an amazing blend of languages and musical influences from all over the world. Members of the band come from Morocco, Israel, Colombia, New York, and New Orleans, each musician brings with them their ingenious musical talents and together the Butcher Knives have created something truly unique.

Citing The Clash, Johnny Cash, Gogol Bordello and Bob Marley as some of their influences, the music on their debut album Misery challenges conventions and proves that music has the power to overcome any cultural and language barriers.

“Drunken and Down” is my favourite song on this album. The strong accordion intro is incredible in its simplicity. The ensuing chaos of the remainder of the song feels like a dizzying spiral into oblivion. There is a distinct punk influence in this song, but there are also elements of Eastern European music, making “Drunken and Down” feel like a peculiarly fun escapade.

“Nobody Know Me” is a superbly exotic venture. The Eastern European musical influences are most predominant in this song, but the infusion of rap-like lyrics that blur language barriers create a track that surprises and mesmerizes listeners.

However, it is the track “American Dream” that forces audiences to move out of their music comfort zones. It is in this song the Butcher Knives demonstrate exactly what gypsybilly is all about. Demanding to be cranked as loud as possible, “American Dream” blends languages, cultures, and musical traditions. The result is a song that defies not only genres, but the idealization of the American Dream.

With ten tracks in all, Misery offers listeners the world of music in a harmonious blending of sounds and melodies from all over the world. As a homage to the many peoples and nations that come together to create culturally complex cities like New York, Butcher Knives offer audiences an opportunity to experience the world through a multifaceted lens. As university students, it is music like this that will ignite thoughts, spark curiosities; it is music like this that gives us the opportunity to appreciate not only how diverse our world is, but what can be created when cultures and languages work together, and what happens when something as simple as a musical genre is overcome.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

— I like music reviews. No matter who you are, where you are in your career or studies, where you live, what you believe in, or what you do, music is something that we can all relate to. This is one of the best of the last year, tying together a review with comments on the human condition and then back to you, AU students. It also doesn’t hurt that I’ve really gotten into this album since the review came out on May 27.

Ontario’s own Rose Cora Perry is gearing up to launch her upcoming solo sophomore solo album Onto the Floor. Fans of Sheryl Crow and Alanis Morrisette are sure to love her emotionally driven vocals and her laid back, no nonsense music.

Also working as a model, graphic/web designer, social media manager/publicist, and as a media personality who has hosted two programs on RogersTV, Rose has an impressive professional history. She began performing at the tender age of four, became a writer at seven, and at fifteen Rose became the CEO of Record Label & Publicity Firm.

Rose is also “the former frontwoman of major label signed act Anti-Hero,” and has performed at many notable music festivals: Canadian Music Week, NorthbyNortheast, Pittsburgh’s Three Rivers Regatta, Warped Tour, and MEANYFest NYC. Rose was even “invited to attend the 53rd Annual Grammy Awards in Los Angeles as an honorary special guest artist” (http://www.rosecoraperry.com/story/4591397623).

Onto the Floor is the follow-up to Rose’s debut solo album, Off Of the Pages. All the songwriting, music, lyrics, voices, and guitars on Onto the Floor were done by Rose. Joining her on piano, lead riffs, and bass is Ariel Kasler (with the exception of the track “Empty” in which Rose plays the bass), and on drums is Ted Peacock. The recording, editing, production, and mixing were done by Ryan McNevin of REM Productions in London, Ontario, and the mastering was completed by Roger Lian Mastering in New York City. All proceeds from Onto the Floor will go to MUSICSAVES, a non-for-profit organization founded by Rose “which aims to impart onto troubled youth the healing capacity of music” (http://www.rosecoraperry.com/story/4591397623).

Onto the Floor is set to release on November 21st, 2016. The album is full of intense vocals, relatable themes, and fantastic music.

The album abruptly rumbles to life with the intro track “Love, Hate & Everything.” The track is a toe-tapper and the lyrics are a brilliant invitation, an invitation to join Rose as she shares some of her best and worst life experiences through the medium of music.

“Away I Go” and “Six Feet Under” have a very folk rock feel to them, and the tracks, which are also the singles for the album and have videos now available, blend together very well. Then there is the third track “Empty” where Rose lets go a bit more. There is a distinct heavy rock feel to “Empty” and a robustness to the song that is amplified by the dominant bass guitar.

Each song on Onto the Floor is distinct and different, and the tracks can be listen to individually. However, there is also a cohesiveness to the tracks and the album also works as a whole, with each track flowing into the next, something that isn’t often done anymore.

If you want to know more about Rose check out her website and be sure to get your copy of Onto the Floor on November 21st. Until then, you can catch her live at VegFest and 70s Revolution, both in London, Ontario on November 12, and on November 19 at Fort Erie for Sessions on the River: Live Streaming Concert & Showcase.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

Inky Ovine is the third EP from Nashville singer/songwriter Jas Patrick, and every music lover needs to check out this hidden gem. Although Jas’s music is typically considered rock, soul, blues, and Americana, he also tosses in elements of alternative, gypsy-punk, reggae, flamenco, folk, country, and even jazz. Jass multi-genre style is a beautiful and complex woven blend of melodies, beats, and sounds.

Released in 2015 on Tiny Lion Records, Inky Ovine was first conceptualized in 2012. After the release of his EP Tributaries in early 2012, Jas found himself with depleted funds and slightly discouraged. He decided to move into a home studio, which came to be called Osa Madre Studios, and for two years he slowly populated his new studio with the gear he needed. In 2014, Jas was ready to begin recording Inky Ovine and he enlisted the help of Nashville recording engineer Brad Bass of First Avenue Sound. Together Jas and Brad recorded the six songs for Inky Ovine, and have plans to release another eight on an LP.

The creation of Inky Ovine was definitely a labour of love for Jas. On the EP Jas was the lead vocals and harmony vocals, and he played the acoustic, electric, and slide guitars, banjo, mandolin, drums, percussion, melodica, bass synth, keyboards, sequences and synths. But he was also joined by Jake Willemain on the bass guitar, Vicki Garrison and Bernadine Upson who also sang the harmony Vocals, and Jeff Peterson who played the steel guitar for the tracks “Little Bug” and “didn’t Ask.”

Fans of Eric Clapton will love Jass intense yet down-to-earth and charming vocals. Jas shows off his amazing vocal range in the EP’s opening track “Harpy.” It is in this song that listeners can fully appreciate Jas’s rapid range, hitting both high and low notes one after the other. It is also in “Harpy” that Jas doesn’t hold back the intensity of his commanding voice, the result being a blues song that deserves?no?demands to be taken notice of.

The sound in “Party Line (Classified)” starts off a little softer than “Harpy,” and the rhythm and melodies slowly crescendo to a satisfying climax at the resolution of the song. In “Party Line (Classified)” Jas’s vocals remind of Blue Rodeo and the Barenaked Ladies.

The EP’s title track, “Inky Ovine”, is perhaps the most unusual song on the EP. It begins with a gypsy-punk inspired intro but then subtly slips into a reggae rhythm as Jas begins to sing. Then at the chorus, Jas’s rock and blues sound shines through. At the bridge, the guitar slides into a more alternative rock sound, and then later has a distinct flamenco flare. However, for all its unorthodox genre-bending melodies and rhythms, “Inky Ovine” is an astounding peek into Jas’s abilities as a musician, and the track is truly the “black sheep” of a music industry that harps on the necessity of genre-labelling.

Those interested in checking out Inky Ovine can find the EP on Jas’s website, as well as on iTunes, Amazon, Spotify, and Noisetrade. Also, be sure to check out the quirky and dark video for “Harpy”, and download the track for free on Jas’s website.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

Canadian music legend, North Easton, is gearing up for the release of his debut solo album, One of the Lucky Ones, on October 15th. For fans of Dave Matthews, Phil Collins, Counting Crows, and Cat Stevens, North’s album should not be missed. Full of folk-rock and country sounds, North’s music is progressive, lighthearted, and meaningful. However, his lyrics are down-to-earth, and his melodies soft and inspired.

Originally from Vancouver Island, this incredibly accomplished musician now lives in Rockland, Ontario. North is most known for his work with the bands Garrity and My Favourite Tragedy. His past work has been recognized with many awards including Indie Album of the year 2001 and the Song of the Year.com’s 2013 Winner in the Country Category, “Stuck on the Stairs.” North was also “a finalist in the 2015 International Songwriting Competition” (http://www.northeaston.ca) for his song “Love Like That,” which is on this album.

North has played with Great Big Sea, 54-40, I Mother Earth, and has performed on TV shows like Canada A.M., Breakfast Television, Rogers Daytime and The Mike Bullard Show. His track, “Texting Song”, was also featured in Twentieth Century Fox’s Animated Hit Series, American Dad. In addition to all of these accomplishments, North Easton is the owner of Rockland Music, a place where aspiring musicians can learn to write music, sing, or play the guitar or piano. And he is also the Regional Coordinator of the Songwriters Association of Canada, Ottawa Chapter (http://www.rbtne.com).

Three of the songs on One of the Lucky Ones, “Love Like That,” “Live My Life,” and “My Way Home”, were co-written with well known Canadian singer/songwriter Rosanne Baker Thornley. The title track of the album “One Of The Lucky Ones” is inspired by Jonathan Pitre and Jeff Scott. About these people and the inspiration behind the track, North said “after meeting incredible people like Jonathan Pitre (the butterfly child) and Jeff Scott (quadriplegic and founder of the Live It Love It Foundation) and hearing them speak about life and how great it can be, well, if you listen to your heart, if you look at the road you are on, you will probably see that you are also one of the lucky ones” (http://skylarentertainment.ca/newsroom/north-easton-cd/).

“Change” is the single from One of the Lucky Ones, and was produced by Jay Lefebvre. “Change” is a song that marks the recent life changes that North made, especially in regard to the create of his debut album. The video for the track is a detailed story and, at times, humorous. Shot in Ottawa and the Thousand Islands, North directed the video, along with Karim Ayari who also did the editing. Check out the video here.

On the album, North also deviated from the typical guitar sound of the folk genre, adding other instruments to some songs to enhance their musical impact. The track “Life” features a live recording of a grand piano, and “One More For The Road” includes the violin and upright bass. This means that the album is full of songs that can be listened to from start to end or individually. However, by listening to the tracks consecutively, North’s message and philosophy about life can be fully appreciated.

Fans of the folk genre will appreciate the laid-back guitar and steady earthy drum beats that flow throughout the album. For example, the track ?Unstoppable? is an upbeat song with inspiring lyrics about personal strength and hard work. There is a twangy country feel to the song, especially in the lyrics, but for those who aren’t fond of country music, ?Unstoppable? still holds some charms.

Then there is the quirky ?When the Night is Young.? The tones are joyous and the feel of the track is one of apprehensive excitement, much like that of a new love. The beat is steady and fun, and listeners will probably find themselves clapping along and swaying to the infectious rhythm.

The final track that I’ll mention is the lulling love ballad ?Here Tonight.? The song is slower than the others, romantic, and simply beautiful. The slowly crescendoing string accompaniment adds layers to this complex song, but it never overpowers North’s soft vocals. The sporadic piano playing in the background adds another interesting layer that helps to end the song on a dramatic note, rather than the soft tones and melodies fading away after the final verse.

The album release party is scheduled for October 15th at Saint Brigids Centre for the Arts in Ottawa. Then on October 20th, North will begin his fall tour across Canada. Dates and locations can be found on his website.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

Haji i Ji and Sariyah Idan just released their beautiful collaborative track “Where Will I Go.” Part of Haji i Ji’s latest EP, Reports of My Demise, released September 20th, “Where Will I Go” is an amazing single that is sure to having you grooving to the sultry beats.

The artist Haj i Ji (formerly Sub Swara, Freek Factory, Nyxyss) is known for his unpredictable creative nature and willingness to push the boundaries of music and genres. Starting out as a DJ in New York, Haj has had an exciting career that has spanned from New York to San Francisco. Reports of My Demise is the second album that Haj has released on his label On The Perch Records.

Hailing originally from New York, and having relocated to Los Angeles, singer/songwriter Sariyah Idan has recently been creating waves in the Los Angeles music scene. Known for her ability to blend a variety of musical genres like soul, reggae, jazz, and hip hop, Sariyah’s voice brings to mind memories of beautiful songstresses like Sade.

As a child, Sariyah was part of the Vanaver Caravan dance and music company in New York, and it was there that she was first introduced to the sounds of the world. Now, Sariyah aims to blend sounds from all over the world as a way to express her social activism. Sariyah has shared the stage with Peter Seeger, Lee “Scratch” Perry, and Yusef Lateef, and in 2014, Sariyah released her debut EP Deeper Than Skin.

“Where Will I Go” is an amazing collaboration between artists which demonstrates that music should not be confined by the notion of genre. The track was written by both Haj and Sariyah, with Sariyah providing the vocals and acoustic guitar. Sariyah’s part was recorded at On The Perch Studios in Sonoma, California, and the track was mixed by Jon Margulies of Hobo Technologies in Los Angeles, and mastered by Audible Oddities in Oakland, California.

If you are looking for a song that will lull you, relax you, and still make you move, then “Where Will I Go” is the song for you. The steady rhythm and sensual guitar creates an entrancing melody, and Sariyah’s voice is majestic. Yet, the reggae and flamenco-feeling beats will get anyone’s hips swaying and feet shuffling, making this song not a “sit back and relax” track. Therefore, “Where Will I Go” is best listened to when taking a break from reading or studying, times when you need to get your body up and moving.

“Where Will I Go” is available on iTunes, Soundcloud, and through Raven Recording, where fans can also find the rest of Haj’s EP Reports of My Demise.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

Vancouver’s Bear Mountain is back with their sophomore album Badu. Released September 9th, Badu is the much anticipated follow-up to Bear Mountain’s critically acclaimed debut XO, and fans of the band’s unique electronic-indie sound will love this album.

Founded in 2011, Bear Mountain has steadily been turning heads with their catchy beats and captivating vocals. Even their live shows have been referred to as “daring performances” and “seeing them live is a unique, whirlwind experience” (http://www.indoorrecess.com/bear-mountain-premieres-new-track/). Bear Mountain has been involved in several music festivals, including The Governor’s Ball, Lollapalooza, The Fader Fort at SXSW, Austin City Limits, and Sasquatch. Consisting of singer/songwriter Ian Bevis, guitarist Kyle Statham, Ian’s twin brother on the drums Greg Bevis, and creative director Kenji Rodriguez, Bear Mountain is a band without compare in the world of music today.

While their music brings to mind beats from the 80s and reverberated vocals like that once heard from Fine Young Cannibals, the music varies so widely from track to track that it is difficult to pin down.

Take, for example, Badu’s opening track “Badu.” While you might be thinking that you’re seeing double, this album arrangement is a brilliant move. “Badu” sums up the album perfectly. This electronically driven number is an eclectic blend of tribal drums, simple choppy vocals, fizzling electric effects, and sultry jazz. Mainly, “Badu” is made up of sounds that you would never expect to hear together, yet the brilliant minds behind Bear Mountain made it work.

The remainder of the album is a similar jumble of sounds and musical elements. “Always Been You” is primarily an electronic ballad with pop-music vocals. Yet, because of the upbeat dance rhythm, it isn’t bogged down by the mainstream feel, that is, it doesn’t feel like every other pop song out there.

“Hopeful” is another track worth mentioning. The lighthearted beats and melodies are perfectly juxtaposed with the more dramatic lyrics. Then the inclusion of vocals that bring to mind powerful 80s love songs makes “Hopeful” is an impressive and well-composed track. In a world where music sometimes feels like it has been haphazardly tossed together, like a cookie-cutter version of the song before it, it is clear on Badu that every note that the boys of Bear Mountain play is a purposeful attempt to create something new, beautiful, fun, and magical.

In essence, Badu is an electronic album with fantastic dance beats. However, if you are looking for great abstract sounds to listen to while studying or reading, Badu is the album for you. Just be sure to keep your feet in check for they may catch the rhythm and get carried away on the epic beats.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

British heavy blues-rockers, The Temperance Movement, is back with their second studio album White Bear, which was released at the end of January this year. Fans of bands like Monster Truck and Wolfmother will appreciate the heavier rock guitars and pounding drums, whereas fans of Pearl Jam, The Goo Goo Dolls, and Blur will love the reverberated vocals and complex lyrics. White Bear is an album not to be missed.

Formed in 2011 by Glasgow-born vocalist, Phil Campbell, and guitarists Luke Potashnick and Paul Sayer, The Temperance Movement grew to include bassist Nick Fyffe and the Australian-born drummer, Damon Wilson. In 2012, the band released their first EP, Pride, which was followed a year later by their self-titled debut full-length album. In 2015, after White Bear was finished, Luke Potashnick left the band on good terms, and Matt White replaced him on guitar. The Temperance Movement has opened for the Rolling Stones, and earlier this year, they toured with Canadian rockers, Monster Truck.

The majority of the tracks on White Bear have that heavier, bold rock sound that rock fans love. However, The Temperance Movement shows themselves as almost progressive in their compositions and play styles. For example, “A Pleasant Peace I Feel” is a relatively tame track, as far as heavy rock goes. The drum beat is steady, but it is shifted to be a background feature, second to the softer muted vocals and repressed guitar. There is a light crescendo as the song takes off, but it never reaches the same fervour as the other songs on the album. “A Pleasant Peace I Feel” really is an unexpected find on a heavy rock album.

“Oh Lorraine” is the driving single from White Bear and for 5 weeks the track “topped the Canadian Rock Radio chart” (http://www.indoorrecess.com/temperance-movement-hit-1-rock-radio-5-weeks-row-oh-lorraine/). This track is exactly what one would expect to find on a rock album: loud guitars, thumping drums, and repetitive, but fun, lyrics. “Oh Lorraine” is best enjoyed with the volume turned way up.

Then there is the slightly psychedelic “Magnify”. There is just something about the guitar that brings to mind 70s psychedelic rock. Interestingly, the vocals still have that amazing blues feel to them, making “Magnify” a very progressive song without compare in the rock world today.

Those interested in checking out White Bear can find the album at all of the usual venues. And if live rock shows is your thing, The Temperance Movement is playing in Canada starting September 27th at Club Absinthe in Hamilton, Ontario. For more information, and to see if they are playing at a venue near you, check out their website.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

Following the success of their previous three EPs and a summer spent playing the Canadian music festival circuit, Vancouver’s The Tourist Company is gearing up to release their debut LP this fall. In anticipation of the release the album Apollo on October 21st, The Tourist Company released the single “Pedestals” on August 16th.

Formed in 2013, The Tourist Company has garnered considerable attention as a budding alternative pop-rock band. They have shared the stage with bands like We Are the City, Dear Rouge, and Fast Romantic, and their music has gotten extensive radio play (http://www.thetouristcompany.ca/biopedestals-release/).

The Tourist Company consists of Taylor Swindells (Vocals/Guitar), Jillian Levey (Vocals/Keys), Josué Quezada (Bass), and Brenon Parry (Drums). In “Pedestals”, the quartet is joined by Stephanie Chatman on violins, and Brian Chan on cellos. Written by The Tourist Company’s Taylor Swindells, “Pedestals” was mixed by Colin Stewart and mastered by Brock McFarlane. The track was recorded in The Space Studios in Vancouver, BC, engineered by Dan Klenner, and produced by Jordan Klassen. If that last name sounds familiar, it may be because Jordan released his second album Javelin earlier this year.

For those who enjoyed Javelin, “Pedestals” is fairly similar. Much like Jordan’s music, the music is soft and beautifully melodious, with attention given to the artistry of the track. There are no harsh beats or tones, and the rhythms seem to flow naturally throughout the music.

“Pedestals” opens with a light and steady beat that slowly crescendos into the string accompaniment. The lyrics and vocals are typical of the alternative pop-rock genre in that they deal with a troubled relationship, yet the chorus really punches a hole into the song. While the steady build to the chorus increases the momentum and anticipation, there is just something about that chorus that really stands out. The solo drum smash punctuates the transition perfectly, and the lyrical switch from an outward statement to an inward wish really sets it apart. The string accompaniment during the chorus also helps differentiate it from the rest of the song.

There is also the poetic quality of the lyrics. While they may sound repetitive at first, reading the lyrics on the band’s bandcamp page shows how much thought and care was given to the lyrics. The two A verses show a masterful understanding of the poetic form. The B verses and chorus that double at the same point in the song heighten the feelings of conflict. The additions of rhyme and repetition, in addition to a few other poetic devices, make the lyrics in “Pedestals” a poetical joy.

If you want to check out “Pedestals” the song can be found on The Tourist Company’s website and on iTunes and bandcamp. For those interested in checking them out live, The Tourist Company is playing at Rifflandia in Victoria on September 15th and at The Gateway in Calgary on October 21st. Full details can be found on their webpage.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

The Cure fans rejoice! LA-based The Infinite Seas has just dropped their amazing cover of The Cure’s “In Your House.” Known for their stunning electronic beats and beautiful harmonies, The Infinite Seas have composed a unique cover that enhances the best parts of the original.

The Infinite Seas is the brainchild of music producer, guitarist, vocalist, and songwriter Dino Bose, who also owns and operates the LA recording studio Infinite Creativity Group. The cover of “In Your House” was part of a larger project, titled The Cure In Other Voices, put together by the Brazilian record label The Blog That Celebrates Itself Records. Perhaps one of the greatest aspects of this musical venture is that The Infinite Seas identifies The Cure as one of their influences. It always great to see a musician get the chance to work on a piece that has had an effect on their work.

Often the cover of a song, well-known or not, is a horrendous attempt at a newer musician trying to recreate the song in their own image. Sometimes it works, many times it doesn’t. However, in this case, it is obvious that The Infinite Seas takes great care in their rendition of “In Your House”.

The Cure’s “In Your House” is dominated by the dour guitar, which is punctuated by the entrancing drum beats and occasional early 80s electronic effect. The vocals are quiet and monotone, and the lyrics are very simple.

The Infinite Seas? “In Your House” opens with the similar guitar and drums, however, with a modern flare. The updating of the sound is fantastically done, and The Infinite Seas stay true to the original’s harmonies and melodies. However, The Infinite Seas does add their own flare to the song. If you listen carefully during the intro, you can hear a woman whispering softly in the background. The whispering effect is used a couple of more times, typically where the original had lengthy pauses of instrumental music. The whispering doesn’t detract from the song at all. In fact, this slight addition elevates the track to a whole new level. Dino’s singing is also perfectly suited to this song. He keeps to the monotone vocals of the original, but his singing is slightly more breathy and higher pitched.

The tempo of The Infinite Seas? rendition is also slower than the original, giving the cover a more psychedelic-rock feel. The cover is also longer than the original by just over a minute. But if you are a fan of melodic heartbeat rhythms and reverberating guitar effects, the five minutes simply fly by. An interesting observation that I made, was that the song ends the same way is starts: with a simple drum beat fading in at the start and fading out at the end. In fact, if you put the song on continuous play, the transition is almost seamless.

If you are a fan of The Cure and don’t mind cover songs, then I highly recommend checking out The Infinite Seas rendition of “In Your House”. Not only is it a wonderful modernizing of the original, but it is a great way for these musicians to pay homage to their musical hero.

Also, because of its steady beats, melodic vocals, and lulling guitars, I would also highly recommend this track for a study buddy. You can limited stream or name your price for the track on the The Blog That Celebrates Itself Records? bandcamp page, as well as on The Infinite Seas? bandcamp page.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer

More highly imaginative and bizarre music is needed in this world, and I am happy to say that Will Wood & The Tapeworms are more than happy to deliver. Fans of Gogol Bordello, David Bowie, and My Chemical Romance will absolutely love the latest release from the outrageous Will Wood & The Tapeworms.

Will Wood & The Tapeworms have already gained a local cult following in New Jersey and considerable media attention since their formation last year. Created by a group of musicians, artists, and filmmakers from New Jersey, Will Wood & The Tapeworms is known for their bizarre and outlandish costumes, which are an eccentric combination of everything that you can imagine. However, their image is actually a really great reflection of their music, which is also an unusual combination of glam rock, gypsy punk, and vaudeville, just to name a few. Referred to as “a controlled chaos” by MTV, Will Wood & The Tapeworms is a tantalizing taste of the unusual.

Released just two weeks ago to an eager audience, Self-ish is a crowd-funded concept album. All of the music and lyrics on the album were written by Will Wood, and the album was arranged by Will Wood & The Tapeworms. The album was produced by Kevin Antreassian (The Deftones, Foxy Shazam, The Dillinger Escape Plan) of New Jersey’s Backroom Studios. Kevin also engineered the album with Jonathon Maisto, who plays the bass guitar in the band (http://willwoodandthetapeworms.bandcamp.com/album/self-ish). Although the list of instruments used by the band is fairly standard for a rock group, the additions of the Theremin, kazoo, and power drill should give you a hint as to the type of music you can expect on Self-ish.

The album opens with “Self-“, which is an amazingly tame ballad. The simple piano and vocals are given a live performance feel by the inclusion of background effects that make it sound like the song is being performed at a live club. The piano playing is beautiful and Will’s singing is unexpectedly robust and impressive. I didn’t expect such powerful and commanding singing when I first looked at the album. Yet, as the track draws to a close, I can’t but feel like the music is taking a steep descent into the unknown.

“2012” features that beautiful piano once again, but Will Wood & The Tapeworms lull listeners into a false sense of serenity as the song takes a twist and broadens into a jazzy, big band sound. There is also a rock and blues influence, but it is difficult to pin down the exact influences in this song.

“Cotards? Solution” has a much darker, more serious feel to it, but it isn’t melancholic. In fact, there seems to be a sense of madness flowing through this song. And it is in this track that the gypsy punk influence shines through, as the music is grand, featuring many different sounds and instruments with a slight exotic essence. If you listen closely at this point, you begin to understand how the first track set up the rest of the album by subtly alluding to each song.

“Mr. Capgras Encounters a Secondhand Vanity” is bizarre. Yet it is in this song that Will Wood & The Tapeworms shine, showing audiences exactly what they are capable of. The track is an exciting adventure inspired by insanity, and a rollicking good time. And be sure to check out the video on their website.

The remainder of the album continues along this wildly demented ride and ends loudly with “-ish”. In complete contrast to how the album began, the piano playing and vocals on “-ish” sum up the journey just taken, by the narrator coming to a rather sad and unfortunate conclusion that will leave listeners eagerly asking “?going to be what?”

Self-ish is a wild ride not for the faint of heart. That being said, those who crave the unconventional and want 30 minutes of immersive musical creativity, Self-ish is the album for you. Although I wouldn’t recommend the album as background noise while studying, Self-ish can be a great way to kickstart innovative thinking as it is an album without equal.

Samantha currently uses her skills as a writer to promote independent musicians and raise awareness and support for many global, environmental, and humanitarian issues. Check out her website and blog at: http://sstevenswriter.wix.com/writer