The keyboards go into some haywire and moody terrorizing elements that bring back the sounds of the Krautrock movement in there for the first two minutes as the trip-hop boogie goes into place for Bernat to go into Stanley Clarke territory as the effects of the noise that sound like zappers attacking to lay down some funky vibes and the last few minutes sees the guitar going into haywire mode before getting back into the funk.
The sounds of the effects of sonic-ambient-cosmos, the instruments is letting us the listener know that it is ready to set for light speed to control heading back to Earth for a wonderful and amazing adventure with BeHer3. Bernat really shows the balance of going through those acts of the different genres of Jazz, Fusion, and Electronic Music and parts you can relax, buckle your seatbelt and go beyond the different voyages of different worlds and understanding where he will go next.
And one of the most amazing bands that completely blew me away from the Bay Area is MoeTar and they are back this year with their follow up to From These Small Seeds with Entropy of the Century. Throughout all the sounds of Psychedelic, Progressive, and Avant-Art-Pop, has really come around since their formation six years ago.
MoeTar has received word-of-mouth and recognition. Including opening for Avant-Prog group, Sleepytime Gorilla Museum back in at the Burning Man Decompression Festival and everything is starting to cook very well with the ingredients they have.
Throughout all of the 12 compositions that have been written by bassist Tarik Ragab except for one by keyboardist Matt Lebofsky of miRthkon. Then there is the title track. It turns fuller with vocals and drums before that guitar returns around 2 minutes in. The instrumental section 5 minutes in to the end is my favourite part of this song. For whatever reason this hasn't hit me like the debut but if you want to hear something a little different check this band out.
They released their debut album back in , and in a fairly short amount of time they had managed to create enough of a buzz around them that they were signed to US label Magna Carta Records, who reissued their debut album in The bands self-description mentions that their aim is to "create catchy, yet complex, music that attempts to make sense of our confusing world. The catchy factor mainly boils down to one element though, in my point of view at least, and to be able to enjoy this quirky potpourri of multiple stylistic traditions a certain affection for that element is needed.
In terms of style this band has been labelled in an intriguing manner of ways, and when listening to an albums worth of material by them deciding just where to place them isn't the easiest of tasks you might get.
Just about all the songs tends to revolve around alternating accessible and challenging sections, where the former can be in a myriad of different styles while the latter tends to revolve around a jazz or avant-oriented approach, at times combining both of these elements. With everything from gentle piano ballads to majestic guitar and organ combinations bordering hard rock for the accessible parts of the compositions, the idiom of "the only rule there is no rule" seems to apply, and as for the challenging escapades they typically involve challenging instrument movements and more of a dissonant and sometimes chaotic expression.
A touch of Zappa might be present here and there, possibly a slight taste of free jazz tinged elements may appear from time to time, but whether it's any of those or sections beyond the scope of both, they are just about all challenging to get your ears and brain around.
The key element that binds this all together, and most often impressively so, is the vocal talent of Moorea Dickason. She has a strong, powerful and emotional laden voice, one that at the most impressive is so spellbinding that you don't really take too much notice about anything else happening.
This may be at least part of the reason why I find the opening half of this album to be fairly flawless, as I even after numerous listens are just so floored by the sheer talent of the lead vocals in those first half dozen of compositions. Friday Night Dreams Bouncy progressive rock stylings are the order of business here.
In a change of pace there are male vocals also included on this song. There is some almost rag-time piano on this piece. In a lot of ways, though, the piano here makes me think of Rick Wakeman a bit. Letting Go of Life Melodic, high energy progressive rock is the idea here. As this turns and evolves there are some particularly powerful musical moments enclosed in this awesome sonic package.
We Machines There is a real funky fusion sound to much of this piece. The chorus has a more melodic and almost suitably synthetic feeling to it. This is an especially cool piece on a disc that is full of cool music. Then the arrangement is essentially reinforced and takes on a bit of a fusion element. Letting Go of Life 7.
We Machines 8. Benefits 9. Raze the Maze Where the Truth LiesBay Area-based modern progressive rock band, MoeTar, have released a video for "Entropy Of The Century", the title track of their new album, released back in August via Magna Carta dowsoundcullaterni.meabsyluderbochanhillchrisamictrichul.cobing MoeTar is no easy feat. In fact, the task is as challenging as the band’s music itself.