ABOUT

Scroll down for Biography & Press Reviews

Thirteen of Everything: 2017-2018 (clockwise L-R) Brett Cosby, Ted Thomas, Mick Peters, Thad Miller

BIOGRAPHY

Sound and Style

Thirteen of Everything is a modern symphonic progressive rock band founded in 2000 in Austin, Texas, whose debut album, "Welcome, Humans" (Musea Records, 2005), received wide acclaim. Thirteen of Everything's music is informed largely by the pioneers of progressive rock, combined with elements from other genres. A variety of influences are present with emphasis on long pieces with intricate, syncopated arrangements while maintaining a strong focus on emotive melodies and thematic development.  Though a melancholy ambience is a hallmark, there is also humor. Each song may sound quite different from one to the next with a variety of moods (even within each piece) yet, in a feat not often accomplished, despite this variety the music still retains an identifiable and unique style that is distinctly Thirteen of Everything.   

A Brief History

Founders Ted Thomas (drums, vocals) & Mick Peters (Chapman Stick, bass guitar, acoustic guitar vocals) met while waiting in line to attend a local concert by King Crimson side-project, ProjeKCt Three, and soon thereafter recruited Patrick McFarland (keyboards), a co-worker of Thomas. After a year or so of working out musical ideas, they recruited Joe Funk (guitar), and the band was complete and made plans to record and perform.  

After recording a home demo recording in 2003, McFarland left and was replaced by Thad Miller. The band then proceeded to rehearse intensively with Thad and play live in the Austin area.  Later that year, the demo paid off when French record label Musea offered the band a world-wide distribution contract.  Wanting a better quality version of the material for official release, the band re-recorded all the songs as well as a new side-long suite. The resulting album "Welcome, Humans" was released in spring 2005 and received many positive reviews.  Rather than return to live performance at that time, the band decided to focus on writing new material, but then Miller left and was replaced by Bruce McIntosh.  After a long period of intermittent collaboration (rehearsal, writing, recording), McIntosh left in 2016. Miller was invited to return and accepted, so in 2016 the band returned to live performance.  At the end of 2016, Funk left and was replaced in early 2017 by Brett Cosby. The band continued to perform in 2017 and 2018 and also continued to write and record more new material.  In September 2018 Miller decided to leave again to spend time on other pursuits. 

Current Activity

Currently, Thirteen of Everything are finishing the final mixing of their long-awaited sophomore release, while also working on new material for a third album, and also LOOKING FOR A NEW KEYBOARDIST to contribute creatively to new compositions, as well as eventually perform both new material and a few of the older pieces (more information here).

Wan to know more?

Listen to the tracks available for streaming on this site and let the band what you think.  To leave comments or to request more information or to sign up for an e-mail list, contact the band.

Press Reviews

The following are excerpts of press reviews of the music found on Thirteen of Everything's debut album, "Welcome, Humans".

…diverse, complex, beautiful… unexpected twists and turns… diverse, profound, devoid of commercial matter... interesting throughout.” 
    – Vitaly Menshikov, Progressor (progressor.net)  rating: 6/6

 “Chops, melody and atmosphere in a winning formula…lots of instrumental interplay, and tons of melody. …classy instrumentation…” 
    – Pete Pardo, Sea of Tranquility (seaoftranquility.org) rating: 4/5

 “…brilliant, inspired… material that is both heartfelt and wise.” 
    – Jedd Beaudoin, Ytsejam (ytsejam.com) rating: 4/5

With Welcome, Humans, Thirteen of Everything offers us a beautiful album.” 
    – Jean-Pierre Lhoir, Music In Belgium (musicinbelgium.net) rating: 3.5/5

 “…beautiful electric guitar…flashy synthesizer flights, powerful vocals, dynamic interplay and many shifting moods.” 
    – Erik Neuteboom, Background Magazine (backgroundmagazine.nl) rating: 3/5

cool, catchy, dynamic sympho art-rock…tends to put a smile on the listener’s face” 
    – Nuno, Prog Gnosis (proggnosis.com) rating: Recommended

“...admirable consistency within the music and the album flows well with sufficient variety to maintain interest throughout.” 
    – Mark Hughes, Dutch Progressive Rock Page (dprp.net)  rating: 7/10

… one of the best multi-part progressive rock numbers of the last decade.
    –Ian Fairholm, Progressive Ears (progressiveears.com) 

Masterful arrangements, soaring guitar…clear, resonate structure, mindful melodies, and intriguing lyrics are in store for the listener.” 
    – zDavid, reviewer on Amazon (amazon.com) 

…the complexity of Gentle Giant, Genesis and Yes, and loads and loads of melody.” 
    – Mac Beaulieu, Expose magazine, issue #26 (expose.org)

It seems like a perfect album. Electricity and poetry meet in search of a modern sound…” 
    – Giancarlo Bolther, Rock Impressions (rock-Impressions.com)

…lush symphonic rock delivered with the skill & chutzpah of the ‘70s elder statesmen.” 
    – Warren Barker, Progression magazine 

… themes change and build, break into soft acoustic piano or guitar with subtle vocal sections, then swiftly turn into full group flurries of electric bliss. …consistently moves steadily forward and maintains strong melodies and attention grabbing meter shifts.” 
    – Dan Bobrowski Prog Archives review 

Strong lyricism, structured melodies…a true work of art.” 
    – Fred DelForge, ZicaZic (zicazic.com)

... really exciting ... complex, symphonic, tight and very professional ... strange chords and progressions ...excellent…
    – Fred Trafton, Editor, GEPR (gepr.net)

…great dynamics between melancholy and euphoria…” 
    – Volkmar Mantei, Ragazzi  (ragazzi-music.de)

 “…excellent progressive rock with symphonic harmony mixing modern sounds to complex structures.  … melody and vast passages with complex instrumentation.” 
    – Prog-Résiste, issue #35 (progresiste.com)