Musically adventurous, lyrically innovative and politically activist, Agent Double E (AKA Renee Asteria Penaloza) brings her unique approach to reggae to the world on "Faces of Agent Double E" (Asteria). Singing in English and Spanish, with a full-groove band that somehow manages to keep up with her dramatic builds, unusual vocal flourishes and non-typical constructs, her lyrics bring a kind of magical realism to everything from human relationships to the battle between man and mosquito. Titles like "Blue Mystery", "So Irrational", "Break Away", "Open Mind" and "Oblivion" offer just a hint of the free-flowing, high-spirited, extremely engaging and utterly unique musical experience. Recorded in Argentina, with guitars straight out of the Summer of Love, this one may remind you of the first time you heard "Bohemian Rhapsody" or Yma Sumac - a one of the kind breaking of all the rules to the utter delight of the listener. Two cool dubs close. For more info contact asteriarecords.info; myspace.com/reneeasteria. Review by Chuck Foster Reggae Update The Beat (getthebeat.com) pg. 12 Vol. 26 4, 2007

Agent Double E’s “Faces of Agent Double E” is most accurately described as a latin reggae paradise! Laden with amazing, pitch-perfect, harmony-filled vocals, groovy beats, and memorable lyrics, “Faces of Agent Double E” maintains a refreshing island appeal from beginning to end. “Vinchuca” stands out as musically innovative, and introduces Agent Double E’s multi-lingual appeal with skillfully interwoven Spanish lyrics. Furthermore, this record hails a rare degree of amazing instrumentation, namely the delightfully clever lead electric guitar riffs and tight overall band sound. With production defined by unchallenged clarity and quality, this album is sure to claim the CD-slot in the stereo deck of reggae fans and latin music fans for a very long time!

When I first heard Renee Asteria's music properly, her voice was accompanied by nothing more than an acoustic guitar and a drum. Acoustic arrangements typically connote to me lazy, unenthusiastic, and ultimately boring versions of songs played better by a full band. But Renee's set was different. Stripped of arrangements, the sheer essence of her songs shone through, her powerful and emotional voice at the forefront. This, I thought, is a musician who knows what she is doing. And so I made my way home, eager to hear what she had done with the arrangements for those songs on her album. To say the least, I wasn't disappointed. The element of Renee's music that I am consistently amazed by is her intuitive ability to seamlessly blend numerous musical styles and cultural sounds. She's primarily influenced by reggae, but elements from around the world seem to naturally find their way into her sound. Take "Life is Crazy", for instance. Some of the guitars are tinged with reggae, some more American folk, the melody wouldn't be out of place in some French dive bar if the lyrics weren't in English, and the finishing guitar solo liberally takes cues from funk-rock. And that's just scratching the surface of this album. One could listen over and over, hearing new elements each time, never quite understanding the full picture that Renee is painting. All this is not to say that Renee is some sort of musical thief. She gracefully allows her musical history to influence her sound without letting it blot out her own style and individuality. Her personality is deeply imprinted into these songs. From the jubilant and bouncy "Mosquito" to the tender "Lullabye" to the yearning and resigned "Smile", we know that this music is 100% Renee. But perhaps the most important aspect of Renee's music is her commitment to humanity. Her message is one of compassion and love - be compassionate to others, be proud of what you can offer the world, and love indiscriminately. Sadly, this message is all but lost in the world of modern popular music, and as such it is all the more important for a voice like Renee's to be heard loud and clear.