Thirteen Of Everything - Time and Other Delusions CD
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Brett Cosby: guitars
Mick Peters: Chapman Stick, basses, bass pedals, vocals
Ted Thomas: drums & percussion, vocals
Bob Villwock: keyboards
with
Thad Miller: keyboards on "Alternate Life"
“Thirteen of Everything is a modern symphonic progressive rock band whose debut album, Welcome, Humans received wide acclaim. Their 2019 album Our Own Sad Fate and now 2023's Time and Other Delusions continue their penchant for adventurous arrangements with interesting rhythms, dramatic mood shifts, strong melodies and thematic development. Though largely informed by the pioneers of progressive rock, there are also other influences from modern prog and other genres. A melancholy ambience is a hallmark, but also subtle humor. Each song can be quite different from one to the next presenting a variety of moods, yet despite this scope, the music still retains an identifiable and unique style that is distinctly Thirteen of Everything.
The New Album: Time and Other Delusions
It has been said that time is an illusion - in this case, a delusion. Both the concept of time and other forms of delusions are touched on lyrically on Thirteen of Everything’s new album, Time and Other Delusions. Both musically and lyrically the album exhibits a mature song craft with potential for wider appeal, yet injects brave twists to keep things interesting. The opening track “Timeline” contrasts hard edges with soft verses. “Alternate Life” and “The Penultimate Flight of Armando the Pigeon” showcase the band’s talent for creating symphonic prog-rock that sounds both classic and fresh. The instrumental “Where the Time Goes” is catchy and energetic, driven by electric piano with nods to jazz-fusion. “Warmth and Darkness” keeps time to a slow heartbeat that builds ominously to a grandiose finale. Perhaps the most surprising are two pieces which cover new ground for the band and are also very different from each other: “The King of Istanbul” starts as a slow melodic song that could conceivably be an ear-worm radio hit, before venturing into different sonic territory with piano/guitar interplay and ending with a rousing celebratory conclusion. The final and lengthiest (16.33) track “Count All the Days” weaves together five movements comprising nervous energy and dissonant vocal harmony alternating with slow, simple, beautiful passages of chiming Chapman Stick and moody Mellotron. This is true symphonic progressive rock that reveals more with each listen.”
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