Wednesday, May 30, 2012

Points North - Road Less Traveled Tour

June 15-23, 2012

We're excited to announce our first tour run in support of "Road Less Traveled". We'll be going up the California coast with our good friends and amazing musicians, the Travis Larson Band. Dates are still coming together; here's the schedule so far:

June 19
The Frog & Peach
728 Higuera Street
San Luis Obispo, CA

June 20
The Pour House
1331 Vendels Circle
Paso Robles, CA

June 21
The Bistro
1001 B Street
Hayward, CA

June 22
Full Circle Brewery
620 F Street
Fresno, CA

June 23
2045 Mt. Diablo Street
Concord, CA

July 20, 2012 Bottom of the Hill1233 17th Street
San Francisco, CA



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Wednesday, May 16, 2012

Autographed OHMphrey "Posthaste" CDs

Jake, Joel, Kris, Chris & Pag signed copies of the latest OHMphrey for us to offer as a special treat.  There are still a handful or two left:

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Thursday, May 10, 2012

MoeTar review by Richard Warren Field

There are a few times in my life when I have heard new music and was stunned. “What exactly was that? I’ve never heard anything like that before. What the hell was that? I need to hear it again—and again—and again.” Some instances I can recall: 1) As a teenage kid hearing “Purple Haze” by Jimi Hendrix, 2) As a slightly older teenage kid hearing Emerson, Lake and Palmer’s “Tarkus,” 3) Around the same time—“Dance of the Maya” by John McLaughlin’s Mahavishnu Orchestra, 4) As a college student hearing Igor Stravinsky’s “Rite of Spring” for the first time, 5) Later in adulthood hearing Dimitri Shostakovich’s Fifth Symphony, particularly the leaping slightly off-kilter fanfares that start the piece, and 6) “Cult of Personality” by the late 80s/early 90s group, Living Colour. Now we can add to that “Dichotomy” by MoeTar. Thank you Magna Carta records for keeping me on your mailing list and letting me know about these people.

“Dichotomy” is one of a number of really captivating cuts in the MoeTar style. I’ll discuss each cut individually. Generally, we have the crystal clear female vocal stylings (except for occasional raspiness in the upper range) of Moorea Dickason over adventurous rhythms and harmonies (most writing credits are attributed to bassist Tarik Ragab) producing a sound that is hard to compare to anything I’ve heard before. Certainly influences from progressive rock both past and present are evident. But this really is an original sound. And during some sections, if you want to sing along, you are going to have a challenge keeping up with Moorea Dickason as she sings complex vocal lines in unison, and sometimes in harmony, with the guitar and keyboard. Do I think MoeTar will break through the way Jimi Hendrix did? In this current music climate, probably not. This music takes effort to absorb—effort well worth expending, by the way—and often in our culture now it is the simple, sometimes overly simple, pounding drum and bass lines under step-like melodies with easy leaps that catch our attention, then fade quickly as their shallowness causes our attention to drift to the next banality. But those of us who like our music fresh, and inventive, and adventurous, need to stick up for acts like MoeTar. And—encourage them to produce more music!

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Richard Warren Field's Blog