Agree 33 is a Christian rock band from Jacksonville, Florida that recently released an album called Brand New Day. The fact that they label themselves as “Christian” should have no affect on your listening experience as I would probably not have figured that out if it wasn’t for the fact that they mention it in their profile. They are a pretty straightforward hard rock/alternative with songs that follow a standard verse/chorus/ verse structure. It’s not very flashy, or breaking any barriers but the songwriting is decent throughout and will find an audience with those who can't get enough rock ‘n roll in their lives. 

The album starts out with “Beyond This Man,” which is a rocker that utilizes distorted guitars on the chorus, clean guitars on the verse and not much else in between. The song doesn't deviate much from the tried and true alternative formula of soft to loud although I did enjoy their breakdown at the end of song, which was a nice little twist.

“Surrender” is an emotionally resonant song that is the most melodic song on the album while “You Have Saved Me” is a welcome change of pace. The song starts off as a nice acoustic ballad and then for no reason decides to rock out with distorted guitars but that doesn't fare so well. It sounds harsh compared with the warm acoustic guitar and the song would have been more seamless if they decided not to go from 0 to 60.

The album often relies on hard rock clichés and sticks to predictable formats. Despite this there are some songs that were well written. Overall, this album has some solid moments that you will want to check out if you are a fan of hard rock/alternative and probably a must if you are a person of faith. 

Let me start off by saying that if I want to hear some exceptional fiddle playing this album has it.

A Thousand Years at Sea is a group that incorporates Celtic, folk, rock, West African rhythms and even some jazz and funk to combine for a very exciting musical experience. The backbone behind the project is Colin Cotter and Ethan Lewis who are the singers, songwriters and well as the fiddlers. Joining them on drums and djembe is Isaac James who contributes a lot of creative percussive elements to the mix.

Their recent album The Stillness Here was all about the music for me. Don’t get me wrong the vocals are good but they kind of take a back seat to the instruments on a majority of the songs. 

The album starts off with an instrumental track and possibly the highlight of the album for me called “Jungle Juice.” To put it lightly the boys tear it up. The fiddle is all over the place and sounds like a bird exploring the vast possibilities of flight. It unleashes a ball of energy but it wouldn't be complete without the stellar piano work and drumming, which stood out to me. “While The World Turns To Stand” is another solid song with unreal piano and fiddle playing. Unfortunately, the vocal melody didn’t grab me as much as the instruments. However, this changed when I listened to the title track “The Stillness Here,” which is a slower song but lets the vocals breathe a bit more. I felt the vocal work sounded better when coated with nostalgia and melancholy. The vocalist sounded a bit like a combination between John Denver and Cat Steven on this track – I liked it.

“Orchard Street” is another fast paced instrumental track that is a joy to listen to. Not to my surprise the fiddle and piano was exceptional but I also enjoyed the bongos provided by James. 

The highlights on this album were the fast paced energy-filled instrumental tracks and the contrasting slower heartfelt moments. Overall, the album has very few flaws and showcases some exceptional musicians being mighty creative.

It took all about a minute and half of listening to the first song on Dives Like A Fool, Swims Like The Dead by Former Friends of Young Americans to know this record was something that I was really going to enjoy. The music on the album will be enjoyed by people who enjoyed most of Creation Records catalogue like Jesus and Mary Chain, My Bloody Valentine and Ride as well as contemporary acts like Broken Social Scene and Peter Bjorn and John.

The songs are lush, have excellent arrangements full of intricate percussion, atmospheric guitars, electronic elements and more. Most of the music is impressive throughout but the interplay and chemistry between the male and female harmonies is what brings these songs to the next level. 

The album opens with arguably the best track on the album called “Sea & The Land,” which feels like a warm pillow in the sky. It just floats throughout the duration as most of the instruments are covered in reverb while the repetitive vocal melody becomes catchier each time you hear it. The combination of what sounds like a flute, subtle yet busy electronics and percussion and clean guitar is a winning collaboration. I didn't think I could enjoy the song more until the horns were introduced.

They follow a similar vibe with the second song “Before They Died.” Although the song has a progressive energy as opposed to the first song that felt like a content cloud of sounds. Additionally, they rock for a bit and decide to give distortion a try if only for a short while.

One of the softest and most ethereal songs on the album is “Comfort Food,” which takes an acoustic guitar and combines it with background vocals that are drenched in a hall reverb. The lead vocal line is just as tender when they sing “Show me your heart / The one on display that I never knew / I'll tear it apart.”

The band expand their palette with more electronic elements on “Moirae” while “Faith-Based Fear” utilizes different samples of people speaking and manipulates them. They end with a short but upbeat number called “Love Hope Doubt” which was a great way to end the album considering there are an ample amount of melancholy moments. 

There isn't much to complain about here. While a couple of the later tracks weren't as viscerally engaging as the first couple of songs this album has a lot going for it. It’s accessible yet experimental and its heart has songs that will resonate with you long after hearing them. 

Byron Edwards is an exciting artist to review because his sound is recognizable yet original. On his album Coy Paradixio Edwards contorts and bends genres with ease to create accessible songs presented in a pop format. What is fun about a record like this is discovering all the ways he makes his music unique. Whether it’s the sounds he drops in his songs that you wouldn't expect to work but totally do or the song structure itself Edwards keeps your attention throughout. It’s hard to compare Edwards to anyone directly but his complete annihilation of genres reminded me of Ariel Pink in that way that composition of these songs clearly comes from an eccentric mind. 

Edwards created a video for each song which you can watch seamlessly on his website. My advice is to grab your favorite beverage, a snack if you're hungry and get ready to be entertained.

The first video/song you are treated with is “Everytime,” which starts off with a myriad of disparate sounds that create a haunting kaleidoscope of psychedelic tremors. Out of nowhere the song busts a funky yet restrained beat, which is the verse of the song. Around every corner is something unexpected and while the video is a nice visual experience the music is what keeps your attention. 

Edwards is just getting starting on “I’ve Bumped My Head On The Moon.”  He takes a cozy sounding jazz guitar and a piano and wraps it in a radio transmission, a theremin and static. Who knew these sounds would work together? I didn’t. Edwards without hesitation turns the song into a very accessible yet experimental pop song. 

Perhaps the most original transition belongs to “Goodbye Evel.” The song starts off with Spanish type guitar playing and Edwards singing over it. His voice becomes more affected by reverb as the guitar fades away and is replaced by what sounds like cartoon voices and static before busting into the verse. On paper it sounds like a failure but it completely works for some reason. The song mutates into more unexpected territory and at this point I am starting to believe Edwards is a mad genius. 

There are 13 songs on Coy Paradixio but watching the video and listening to the music was hardly a chore. In fact, I have to say Edwards’ original style and creativity should not go unnoticed. There are a lot of bands writing great music but Edwards is really making something original, which is pretty rare these days.

New Manners represents the new era of folk pop music. Their latest self-titled EP New Manners was developed in California and comes from a history of playing music together and touring and then ultimately recording this EP. Mastering was handled by Pete Lyman, who is responsible for big names like Bloc Party, Best Coast and St. Vincent. Yet while listening to New Manners, I get memories from bands like Grizzly Bear, Band of Horses and The Antlers.

The track entitled “Taillight” has an upbeat yet subtle vibe to it that lets you relax yet at the same time not fall to the wayside of laziness or an idle mind. There is a steady upbeat rhythm, and the vocals are catchy and repetitive; then towards the end there is an upwelling of guitar strumming that really awakens the soul inside.

“Take What’s Yours” is about a breakup; “I don’t think I could love you anymore, take yours and I’ll take mine.” The song has an epic tinge to it and kind of emulates a positive overcoming of a bad relationship. It illustrates the scenario from the side that doesn’t necessarily get hurt, which is why I imagine it is so upbeat. The next song seems to also be about love, one that isn’t sweet but perhaps is growing sour. The lyrics “your clothes are getting smaller, your eyes are wandering...your heart is growing fonder… there was trouble from the start,” shows a negative trend in this hypothetical relationship.

Production of this band’s first EP is quite commendable, as it is of high quality and there is barely any evidence of smudging or meddling of the instruments or vocals. The band is a perfect emulation of a successful indie-folk band because there is a gentle yet edgy disposition to the vocalist and this creates a certain feeling for most of the songs. Behind that, there is passion in the guitars and drums that together make up a collection of pleasant indie tracks.

Frank Ocean meets Seal; that’s what Grandfield brings to mind as the band offers a pleasing R&B like voice but they are accentuated by somewhat gospel-like sounds or epic pop melodies. Ken McLendon is the lead singer and is backed up by an extensive band with both instrument and vocal skills. Altogether, the parts of the band create a dynamic musical force that just seeps into your soul.

Opening the album Simple Thing is a track titled “London, Paris, Rome,” and within this song there is so much motivation and positivity, I’m sure it is capable of reaching each of those cities. The vocalist has an innate energy that just circulates throughout the entire track and I feel like prancing around on my tiptoes. The piano really creates this effect, as it is in the background keeping the beat with a tight, steady and pulsing rhythm.

The track that shares the same title of the album is a very colorful song and has a lot of soul in the melody and lyrics of the song. The lyrics describe a love scenario; “simple things ain’t trivia, I need you, baby you know you need me too.” This song is chock-full of effects, making it slow and fast at the same time. It is quite an interesting listen.

The music on Simple Thing can be classified as pop soul and there is much to be found in the songs on this album. Time and time again, the lead singer comes through to offer an almost religious musical experience, as he takes you higher to a plateau that is spiritual. This is backed up by the supplemental instruments and effects from the other band members. You can tell that individuals with years of experience have produced this music. The recording quality is of high merits, and each instrument gets its own time to shine.

Just like their quirky name, The Hey! Listen! band demands that you stop what you’re doing and quite literally take a listen. The band hails from Portland, OR and they are definitely full of the culture from that scene. The sound created by the band can be considered blues indie folk rock. It is a bit reminiscent of bands like Yeah Yeah Yeahs, Tune-Yards, and Cold War Kids.

The first track on their self-titled EP The Hey! Listen!  is titled “Black Pearl” and the lyrics scream, “I will never be your girl, I’m a little black pearl.” The song is incredibly upbeat and I can just see this track getting a venue jumping because there’s no way to escape the guitars and drums of this song. It really makes you want to get up and dance. The lyrics are also very catchy and you catch yourself singling along as the song goes on.

The vocals in each track are very intriguing and set the stage for the music. It is a dynamic voice that conveys several connotations throughout the album. On the second track, titled “The Time” the vibe is very different than the first track. It is a bit more melancholy yet still maintains an upbeat demeanor. Execution of the vocals on this track also creates a more folky-bluesy sensation as the vocalist preaches about “the time,” and how “we have nothing but time.” Philosophically speaking, this is a refreshing song that is perfect for a lazy afternoon.

Back to their roots, the next track “Mali-isms” slowly bubbles into a sultry anthem of rock and soul. “Candelion” again is another slowed down song and just makes you want to relax in the grass or let your feet dangle in the pool. Here the vocals remind me of Macy Gray or some trip-hop tracks from the 90’s.

Production of the EP is of good quality, at times it almost seems as though you’re tucked away in some lounge actually hearing the band strum and drum right in front of you. I suspect a unique set up of mics helped achieve this effect. The Hey! Listen! is a superb listen for anyone into rock and funky soul, the album has something great to offer at every stop.

You don’t need to understand the title to enjoy Ete’s –x+v, a balanced collection of five soft rock songs that prove that minimalism can work extremely well in a musical sense, and great things can be accomplished when a collection of powerful instruments are allowed to work with, rather than against (or in spite of), each other.

A few of the songs have a great deal of energy. “Anniversary X” starts off with impressively strong vocals and well-meaning lyrics, exploding into an almost electronic rock section. The addition of violin lifts the song as the chants of ‘it’s over now’ sends it soaring. The following song “Birds” sounds like pure flight, with twinkling notes that dance from ear to ear, seeming to surround the more grounded vocals and lyrics. The drums play an important part too, while higher, softer vocals add just the right touch of fantasy to the song.

“Complete Control” borrows some of the 80’s pop technique, with heavily auto-tuned vocals at the beginning and more emphasis on the lower notes of the scale. The epitome of creative involvement on this album, more liberties are taken with the notes and the benefit of doing this shows. Each instrument seems to shine for only seconds at a time, changing focus seamlessly with each new sound introduced. The end result is a thoroughly cohesive yet often changing song.

The two final songs on the album are quieter and considerably more toned down than the first three. “Conversation Between Father + Son” is a simplistic song, starting out with more emphasis placed on the lyrical content than any other instrument. A spoken sample halfway through begins to introduce the instruments back to the song, leading to a more energetic chorus and a fantastic piano solo that closes it out. Album closer “Lost at Sea” takes further advantage of the minimalistic approach to music, choosing subtle sound progressions over a blinding wall of sound. Every part works incredibly well together to create the perfect tone; no one instrument drowns out the other.

One might get the sense that this offering is far too short, as you are left wanting more – luckily, this is the first of a three part series, so there is plenty more to come. This thoroughly engrossing effort is likely to bring a great deal of fans to Ete, particularly from people who enjoy music that firmly grasps the fundamentals of theory but isn’t afraid to expand and break barriers to create whole new sounds and harmonies.

One of the things that might surprise you when listening to Mona Feel’s debut EP Sun Diving is the amount of polish and compositional skill present, as well as the chemistry between parts; this sounds like the work of a band who has been together for years, not months. This is a true indie rock album that maintains the band’s signature sound throughout but leaves plenty of room for expansion and musical creativity.

Right away, you find that “Sun Diving” has a fun, funky beach beat. The vocalist does a good job jumping from midrange to higher notes and back again – making it sound effortless. The chords sound relatively simple but still provide a great foundation for the vocals, and the drums correspond well with the song, being sure not to stick to just one generic rhythm.

“Dustball” starts off more eerily, relying heavily on nuanced background noise to create the atmosphere. The vocal notes are lower as well, which are perfect for the mood. The low, heavy sound continues with the beginning of “Hard to Say” in moments that bring to mind feelings of quiet desperation, sadness, and the will to run away. The rest of the song, however, seems to be the answer to those feelings by providing a hopeful, encouraging outside perspective. This is an example of great storytelling in music, and shows how just a few guitar notes can effectively shape your perception of a particular song.

“Hands Untied” expands on the previous use of mood setting, relying on just the vocals this time with subtle background notes to get the song started. There is impressive guitar work here, with brief glances at a deliciously technical riff throughout. You almost want this sound to continue throughout the whole song, though its impact is arguably more pronounced in small doses. The intensity picks up as the drums join in, giving the pace a more steady march, then fades away just as smoothly as it started.

“Walkabout”, the last and shortest song on the EP, ends things on a more upbeat note. It’s a logical conclusion to this offering, but could just as easily appear in the middle of a full-length as a climactic song.

Sun Diving is an album that manages to capture a wide range of human emotion in just a few short songs, arranging them in an ebb and flow meant to deliver the greatest bang for your ear buck. I look forward to hearing how they will expand the direction of this EP. Mona Feel also plays live shows, and will be playing at the Subterranean in Chicago, IL at the end of January. After hearing this EP, I can only imagine how much energy they bring to the stage, and hope to see them live one day.