MOETAR

US band MOETAR was formed back in 2008, with vocalist Moorea Dickason and bassist Tarik Ragab the initial core of the band. They released their debut album back in 2010, 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 2012. "Entropy of the Century" is their second full length production, and was released in 2014.

The bands self-description mentions that their aim is to "create catchy, yet complex, music that attempts to make sense of our confusing world." That is a most apt description I think, a concise summary of what this band is truly all about. 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. My notes and memory tries telling me that it's also because the more challenging escapades weren't quite as challenging or not taking up quite as much play time in those compositions, but that may just be a side effect of finding the vocals so mightily impressive in that initial half.

It probably goes without saying that I wasn't quite as enthralled by the second half of this disc of course. My notes and my memory conveys that these compositions, starting with We Machines, came across as a bit more stilted, not quite as powerful on an emotional level, arguably a tad more technical and with more numerous or elongated sections of escapades of a more challenging nature. This is probably much more a subjective experience rather than an unbiased fact of course, and while not quite as breathtaking these are still creations that are highly charming in their own right as well. It is, for the most part, the difference between great and brilliant.

At the end of the day my impression is that MoeTar is a band that will have a finite appeal, as their compositions tends to feature sections that is rather challenging and that does take some time getting used to. The big draw are the vocals of Moorea Dickason though, she is a dominating presence throughout, and you truly need to like her vocals to be able to enjoy this band. In fact, I suspect that quite a few people enjoy this band despite their music and because of her vocals, as she is a top notch vocalist on just about any level you can imagine. If you have an affection for challenging music combined with quality lead vocals in general and female lead vocals in particular, MoeTar is a band that merits a check, and this second album of theirs is as good a place to start as anywhere else really.

This is MOETAR's second studio album released in 2014 and once again Moorea Dickason steals the show with her amazing vocal display. I remember my first listen to the debut "From These Small Seeds" and just not liking it at first with those short tracks that are dominated with vocals, just not usually my scene. But it won me over fairly quickly and I just played it again a couple of days ago to compare it with this latest release. Yup I still really dig it but I have to say this latest one just doesn't do the same for me. A good album for sure but 3.5 stars is as high as I can go. By the way the focus might be on the vocals but the intrumental work is killer all the way. You might even compare the music here to KNIFEWORLD somewhat except I feel KNIFEWORLD is much more daring and innovative plus I love the horns in that band.

"Dystopian Fiction" is such a great opener, just the style of the vocals and the guitar. "Entropy Of The Century" is my least favourite tune, I just can't get into it for some reason. "Regression To The Mean" is a killer song and probably my favourite. I like when she sings with that determined attitude. "Welcome To The Solar Flares" has laid back vocals and keys early on before it all turns fuller before a minute. "Friday Night Dreams" is humerous and catchy and male vocals help out on this one. Nice instrumental section from before 2 minutes that lasts about a minute. "Letting Go Of Life" is a really good tune with backing vocals and organ at times. Check out the drumming 3 minutes in followed by a peaceful atmosphere.

"We Machines" is humerous with some excellent instrumental work, so impressive, especially after 3 minutes. "Benifits" is led by piano and vocals and is ballad-like. I like the guitar solo 2 1/2 minutes in to the end. "Raze The Maze" features Moorea doing her gymnastic vocal displays and also check out the keys and drum work. "Confectioner's Curse" is fairly powerful with determined vocals. "Where The Truth Lies" is a top two for sure. The guitar is surprisingly dirty and I appreciate them changing things up for a change in this manner. It turns fuller with vocals and drums before that guitar returns around 2 minutes in. A cool keyboard/vocal melody section arrives before 3 minutes and I love the guitar that follows. "The Unknowable" is by far the longest tune at 6 1/2 minutes. 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.

3, 5 stars !!! If you want to hear a really different sound or (at last to me) an uncommon experience of prog music , you can try this with the North-American band MOE TAR second album "Entropy Of The Century". Although I think which the band, could better explore his musical skills with more extensive tracks (only the last track overcoming 5 min ).... However, the melody is complex with unexpected scales and broken beats and there are not monotony. Their sound includes jazz, hard & heavy, pop and a hint of avant-garde. The track 1" Dystopian Fiction" starts with vocal/guitar duo and create a almost dreamer atmosphere follow by an intricate way of scales with bass/guitar duos. The track 3 "Regression To The Mean" is another higher point, where the mix of this unexpected scales and broken beats are easily perceptible . The track 7 " We Machines " is a tecno-pop progressive experience. In a general way the disk are very equilibrated, the musicians are competent . I give 3 stars , but I want make the safeguard which this album deserves a place in my collection !

This a collection of quirky, intelligent and delightfully melodic "avant-pop" songs that are, in my humble opinion, distracted from by the highly engaging vocals of the uber-talented singer, songwriter and founder Moorea ("Moe") Dickason. I find it quite challenging to really listen to the music because of the draw of the intelligent song lyrics and their delivery style (which does, however, at times, get a bit repetitive and 'old'). Clearly a group of very talented musicians led by a duo with a clear and mature vision, this is highly recommended as another polished example of this new modern era of "poppy prog."

Favorite songs: "Where the Truth Lies" (4:49) (9/10); "Confectioner's Curse" (3:02) (8/10); "Entropy of the Century" (2:52) (8/10); "Welcome to the Solar Flares" (3:03) (8/10), and; "The Unknowable" (6:26) (8/10).

MoeTar were formed in 2008 by the pair of singer Moorea Dickason and bassist Tarik Ragab, who played together in the Funk band No Origin.Original formation featured also Dave Flores on drums, Matthew Charles Heulitt on guitar and Bob Crawford on keyboards, who was soon replaced by Avant Rock specialist Matt Lebofsky.The band debuted live in May 2009 at the Bay to Breakers race in San Francisco and several lives followed since.For over a year they worked on their debut ''From these small seeds'' in four professional and home studios, the album eventually was released independently in 2010, re-released in 2012 on Magna Carta.Former member Bob Crawford still played Wurlitzer piano in two tracks.

The band cited Frank Zappa, Queen, XTC and Classic Prog acts like Yes and Genesis as the main influences.Do we hear these sources in the album?We certainly do.Although they sound more like a modern GENTLE GIANT, producing quirky, fast and intelligent music, some sort of innovative Avant Pop Prog with Punk and Classical touches.This is genuine music by any means, A.C.T. could be an appropriate comparison, still MoeTar sound a bit more retro-styled in the process, they even cross the borders of bands like RASCAL REPORTERS or THE MUFFINS at moments.Tracks are rather short, but the music is complex and intricate without losing much of its accesibility and freshness.Great female vocal harmonies, clever poppy tunes and progressive firepower with complicated twists, changing paces and climates in a blink of an eye, searching for the land of salvation in the genres of Jazz Fusion, Pop, Classical Music, Avant Rock or Musical.The arrangements are dense and dynamic with superb breaks and the atmosphere is extremely pleasant.Although much of the content is vocal-heavy, the instrumental background shines through, fantastic teamwork on interplays and tons of time signatures, with professional musicianship and an impressive technical level.GENTLE GIANT fans will love this to death, its modern Prog played with passion and tremendous consistency.

A highlight of the year 2010.Groundbreaking Avant-Prog-Pop with compact songwriting and an unmet instrumental delivery.Highly recommended.

Another great release! They have retained their unique and very recognizable sound, yet pushed into new areas as well. The album is at once more accessible, and more proggy than the last one.

They start with some excellent and, at times, gorgeous melodies and "songs" and then embellish them with very sophisticated arrangements. The lyrics are, once again, intelligently written and expertly delivered.

There are a few "solos" here, but they are brief and complement the songs nicely. As on their first release though, the instrumental work going on behind the scenes, precludes the need for any extended soloing. I can't stop listening! Bravo!

This album is an absolute blast! Labeled as crossover, but this isn't pop based to my ears. It has a lot more in common with jazz, in my opinion. Moorea Dickason can flat out sing and she often employs a style that crams a thousand words into a single musical phrase, each word a different note. She can cover a lot of ground from delicate and beautiful to raging, vocal chord splitting power. She is fantastic and the melodies are always captivating. Coupled with intelligent lyrics, Moorea's vocals are a definite strength of the band.

Speaking of the band...every player is just fantastic. The performances are tight, the arrangements sophisticated, and they play off the vocals in a delightful manner. There aren't a lot of solos per se, but many of the arrangements have the band flying, so there is plenty to impress.

If you like shorter, song based yet complex music, I cannot recommend this band enough. This is an excellent debut and I can't wait to hear the next one.

MOETAR are an exciting new band from California. The keyboardist is the bass player for MIRTHKON. The star of the show though is most definetly the vocalist named Moorea who like Christina from FULANO / MEDIABANDA knows how to put on a show. And while her voice is "lights out" good, the instrumental work is often complex and stunningly well done. The vocals are diverse, theatrical and at times outrageous. It's not often that I laugh right out loud because i'm so impressed with what i'm hearing but I did at least three times while giving this my final listen before the review.

"Dichotomy" is a catchy vocal led track until we get some instrumental gymnastics before 2 1/2 minutes. "Infinitesimal Sky" again makes me exclaim "Man she can sing !". Some nice outfront guitar as well but man she's an amazing singer. "Butchers Of Baghdad" is where they slow it down, at least at first then it picks up with fast paced vocals. This is catchy. The guitar lights it up after 2 1/2 minutes. "Random Tandem" has a catchy beat as the vocals join in. She's doing it again ! I'm laughing after 3 1/2 minutes. "Ist Or An Ism" has a complex and powerful intro then it turns heavy. Strong vocals after a minute. She's showing off again 3 1/2 minutes in (haha).

"Morning Person" opens with piano then the bass and drums come in as restrained vocals follow. Chaotic guitar and sound each time she stops singing. Great track. "New World Chaos" has some excellent guitar as almost mono-toned vocals come in. The instrumental work is the focus here and it sounds amazing. "Screed" is an anti-religion song that is quite powerful. "Never Home" is slower with the focus on the vocals. Check out the powerful and chaotic intstrumental section 3 minutes in. "From These Small Seeds" has pulsating piano along with vocals as it turns heavier before settling back some. Complex instrumental work here with lots of tempo changes. "Friction" ends it with more powerful music and vocals.

Such an impressive record that is fun yet complex at the same time and always interesting. Please check them out.