NYS Music 20​14

Category: Reviews

  • The Women of Ireland Take The Stanley By Storm

    As Central New York continues to celebrate their week long St. Patrick’s Day traditions, it was only fitting to host the beautiful Women of Ireland at the magnificent Stanley Center for the Arts.  While not all of the Women of Ireland could make it, they did send some very special ladies and gentlemen to represent and share their traditions of music and dance across the pond here in America.

    And what a fabulous production it was.  To state that the musicians and dancers were outstanding is just an understatement of their amazing talents and effortless delivery.  The lovely O’Neill sisters, Fiona, Naomi, and Evangeline, are no strangers to the music industry as they have roots in music both here in America and across the pond in Ireland.  They grew up in Ireland in the County Kerry, an area where coastline and natures beauty surrounded them.  Studying music, dance, and theater at an early age fueled in them a passion to share their voices and talents with audiences worldwide, and after spending some time in America with the likes of stars such as Bruno Mars, Tom Cruise and Miley Cyrus, their homeland began to beckon them home where to our great fortune, they became involved with Women of Ireland.

    Mix the angelic voices with the light and airy steps of Kelly McDonnell and you have a perfect combination.  Kelly McDonnell hails from County Tipperary and at the age of 3 began dancing with the Fleming Ball Academy.  With several amazing championship wins under her belt by the age of 16, Kelly turned professional and traveled the world performing for huge audiences, select celebrities, and shows such as Michael Flatley’s “Celtic Tiger”.  Her amazing spring and effortless ease entrances those who are lucky enough to see her perform.

    How could this show get any better you ask?  Well just add in Anthony Fallon.  Anthony began his dancing career at the early age of 3 also, under the tutelage of Terry Gillan and Philip Owens in Dublin Ireland, and at the age of 6 began competing.  Anthony was World Irish Dancing Solo Champion from 2000-2004, and with numerous titles under his belt he began touring.  While working in America he was invited to tour with Riverdance: The Show, where after two years he was offered a principal position. Anthony is the Principal Choreographer for the Irish dancing you see in the Women of Ireland, and I must compliment his magnificently creative, and impeccably  timed choreography you see through each and every number in the production.

    Rounding out the ensemble I would be remiss to not mention how absolutely enjoyable were the performances by both Katie Shaughnassey and Maureen Devereaux. These young ladies float across the stage performing their slips, reels, and jigs as though clouds moving to the music. And rounding out the cast was a band of musicians who are top notch in their crafts. On uileann pipes was Dan Callaghan, on bodhran was Andrew Meyer, on guitar was Searn Ernest, Katie Greenan was on fiddle, and on drums was Renato Milone.

    For all that attended the show on March 11th they were thoroughly entertained with both traditional celtic tunes such as Danny Boy and Red Haired Mary, and more contemporary tunes such as Josh Groban’s “You Lift Me Up”, Original Castle’s “One Tin Soldier”,  and John Lennon’s “Imagine”.  They were treated to the traditional celtic instruments of the uleann pipes, the bodhran, and of course the fiddle.  As the dancers joined them on stage audience members couldn’t help but tap their toes and clap along.

    This production took every detail in mind.  I have been part of many shows and this one was an outstanding artistic production.  The light show and sound match the talent it was highlighting and all together was seamlessly carried out.

    Although all the women of Ireland could not make it to The Stanley Center for the Arts, it was truly our gift that they shared this cast and crew with Central New York making this pre St. Patrick’s Day show the perfect way to begin the holiday week.

  • Jesus Christ! and the Hallucinogenic All Stars Bless Putnam Den

    Some of the biggest problems in modern music today include the needless repetition of every theme. Unfortunately, most people have “seen it all before,” and local music is especially notorious for this. For example, go to a metal show, and you’ll probably see the guitarist put his or her foot on the monitor. It’s old and tired. On the other hand, there are certain acts that try their own thing. Imagine that you’re a member of Jesus Christ! and the Hallucinogenic All Stars.

    You’ve smoked so much weed that you can’t see straight and you’ve drunk so much you can’t stand. But more importantly, your musical ideas are quite different than others and you’re unafraid to showcase them.

    Although the part about being ‘too high’ is an exaggeration, Jesus Christ! is very clearly unconcerned with what pop music is, how much money they’ll make, or whether they’ll have a career in music. They’re on stage for the fans and for their enjoyment of music.

    If you love the sounds of Clutch and Mastodon, you’ll probably also like Jesus Christ! They’re technically a three piece band, featuring guitar played by Jon Imbo, bass and vocals from Dustin Alexander, and drums from Ross Kelch, but this is where things get tricky. Anyone who goes to a show will notice a bearded man on the left side. His name is Jacob Pederson. He stands behind a partition, so he looks like he is probably a keyboard player, or a DJ, but his job is not one that you typically see on stage. He is literally a bartender, and the new people in the crowd had no idea how to react when he stepped away from the partition to hand the drummer, Ross, a mixed drink. He shakes, stirs, and produces right on the spot.

    This is just an example of Jesus Christ!’s non-conformities. Other than this, their bartender works on the light show and handles roadie and driving duties for the band, and by the power of his drink making would be arrested if they even attempted driving. The man acts as a hype man, and is not afraid of the possibility of anyone questioning why a non – musician would be on stage.

    But Jesus Christ! and the Hallucinogenic All Stars aren’t all about getting high. There is a lot more to their show than might be apparent. For instance, their sound, although similar to other bands, has its own groovy nuances. You’ll recognize Clutch and Mastodon, as well as Kyuss, in the mix, but their use of tasteful harmonies and rough vocals sung into one of those old time radio microphones have an awe-inducing effect.

    The band played some of their usuals at their March 19th Putnam Den show like “the Mountain,” and “Shipwrecked,” and covered a song as well, but besides the headlining Mobile Deathcamp, the band was a highlight of the night and did not disappoint. Their sound was a lot different from Dark Matter and Satan Place, who also played the same show. Their presence in the studio easily carries over to a live setting, where the band gets heavy enough to yell, casual enough to sway, and doesn’t mind jamming a bit.

    Anyone who comes to their shows in the future can expect one thing: the ability to relax after a long week at work, have a drink, and sway to the music. You don’t have to be high to have a good time, but you do have to believe in miracles, because in a musical sense, that’s exactly what Jesus Christ! will give you.

  • Hearing Aide: The New Mastersounds ‘Therapy’

    Therapy-DUMAINE-1400X1400

    Funk may have spent its infancy here in the U.S., but at some point it must have been stowed away in a Gulf ship destined for the shores of our British neighbors.  The New Mastersounds have been around for a while now, originating in Leeds, England in 1999 and putting out an album just about every year or two since their inception.  Even with the loss of longtime organist Bob Birch in 2007, the band has stayed true to their original sound and continued at their feverish pace.  The New Mastersounds’ latest release, Therapy, is the ninth album from the British funksters and was recorded near Red Rocks in Morrison, Colorado this past year.  The album masterfully traverses everything from jazz, funk, and soul, to covering the Bruno Mars song “Treasure.”  The album also features guest performances by Lettuce’s saxophonist Ryan Zoidis and The Motet’s singer Kim Dawson.

    The first track is titled “Old Man Noises” and opens with a snare roll before diving right in to one of the most rhythmically driven songs on the album.  The intensity of this deeply funky song hits you right away and draws you in for the rest of the album.  In the fleeting moments of the three-minute track, drummer Simon Allen goes off on a short-lived solo that gives you one last rush before slowing things down on the second track,  “Morning Fly.”  The back-to-back combo of the two is complimentary, yet polarizing.  In “Morning Fly” the band takes their time and develops the slow-rolling jazzy vamp.  Around the two-minute mark, a blues-inspired piano solo runs the ivory gamut and elegantly holds your attention throughout.  It’s tastefulness and simple beauty add to the song’s well-crafted atmosphere.

    img_1068

    “I Want You to Stay” is the first track on the album that features a guest in The Motet’s Kim Dawson. Her voice is rich in feeling and emotion and her soulful tone pairs well with the band’s delivery.  The song is yet another example of how the band can take an easygoing melody and really push it to something that truly grabs your attention. Similarly, Dawson holds her voice back just enough to make you lean in and listen. There is nothing fancy on this track, yet you’ll find yourself closing your eyes and getting lost in the hypnotic chant of the title every time.

    The hidden theme through each of the twelve tracks is how expressive the band can be while still staying off of the radar. The group rarely tips their hand and always leaves you wanting more throughout the album’s entirety.  The song “Stop This Game” is another that you could glance over on your first pass through.  Its laid back style is undermined from the get-go by a propelling beat that never lets up.  The drums don’t command attention though, just calmly push along like a duck whose feet never stop under the water.  The musicianship extends in all directions on this one as well.  Following the first and second chorus, the band pulls back to support a solo from pianist Joe Tatton and guitarist Eddie Roberts respectively.  These two add just the right amount of flavor before dropping back out and showcase their overall control by not overindulging. Two-thirds of the way through the song, the band switches gears into a reggae-inspired groove that is somehow blended flawlessly.  Starting this song, you’d never expect it to go that way, but at this point it shouldn’t be surprising what these guys are capable of.

    The album as a whole covers a lot of ground, but never fails to deliver.  As their popularity grows, we can only hope that their stateside touring grows with it.  The band was gracious enough to share with  some shots from the studio in the gallery below.  The shots were taken by drummer Simon Allen and do an excellent job of making you feel as if you were right there with them.  After glancing through some of the pictures, you’ll notice the notes will begin to resonate deeper knowing what it was like to be there as this beautiful piece of work was captured.

    Key Tracks: I Want You To Stay, Stop This Game, WWIII (And How to Avoid It)

  • ‘Let it Go’ with The Infamous Stringdusters, The Conservation Alliance and Upstate NY

    “If you think you can make a difference and the fire is in your soul, go ahead and take your stand and if you can’t, let it go.” – The Infamous Stringdusters

    Words of wisdom and truth sung in five-part, heartfelt harmony isn’t preached, but instead, practiced. The Infamous Stringdusters make good on their own philosophy as proceeds from each album sold and every ticket for the Let it Go Album Release Tour is donated, in part, to The Conservation Alliance. According to their website, the mission of The Conservation Alliance “is to engage businesses to fund and partner with organizations to protect wild places for their habitat and recreation values.” The Stringdusters know they can make a difference and creatively found a way to help their fans recognize and contribute to environmental issues brought into awareness by The Conservation Alliance. New Yorkers have two opportunities to see a performance as well as purchase an advanced copy of Let it Go at The Wescott in Syracuse and Club Helsinki in Hudson on March 22 and 23 respectively.

    Official album release is slated for April 1 on High Country Recordings. The title track appears last on the disc perhaps making a larger impact of the lyrical stanzas and driving home the philosophical stand point of being true to oneself – a theme weaved throughout Let it Go. Disc opener, “I’ll Get Away” gently nudges the listener in the direction of soothing folk instrumentation and humming the “ohhhh’s” slightly hints at the cohesive as well as expansive string explosions presented within the eleven-track disc.

    A naturalistic approach to life themes told in tune using the imagery and temperament of Mother Nature present a dynamic dichotomy. “Where the Rivers Run Cold,” symbolically declaring never giving up in the refrain and “Winds of Change,” where moving on is encouraged, are contrasting emotions just as life and death exists in nature. Gentle picking and soft fiddle bowing add to the sweetly sorrowful ballad of “Rainbows” communicating a simple naivety in daydreaming.

    Let it Go Infamous StringdustersAndy Hall (Dobro), Andy Falco (guitar), Chris Pandolfi (banjo), Jeremy Garrett (fiddle) and Travis Book (upright bass) are no strangers to raising awareness and making a difference. In 2013, the band invited fans, affectionately known as Jamily, on a six-day float trip through the wilderness. The excursion brought water sustainability issues to the forefront in partnership with Patagonia, Klean Kanteen, and Osprey Packs. “Middlefork” was created paying homage to the location of the trip in an instrumental dominated by a fiddle and dobro composition matching music with nature’s soundscapes.  Likely brushing off the dust the great outdoors can kick up, surely these boys were left yearning a bit for the Colorado country flare proclaiming “I wanna get mile high/touch the sky/get lost in mountain time.”

    The album was recorded at White Star Sound boasting a rustic farm off a dirt road in Virginia. The seclusion and natural surroundings offered an opportunity for The Stringdusters to be present in the music making process; enabling a more focused song crafting and musical stylings seemingly contradictory to their live performances and periodic improvisation, though airy nuances throughout whisper like Father Time plays tricks on the mind.

    The Stringdusters have evolved personally and musically. They continue to host  The Festy Experience.  The fan favorite festival is in its fifth year and will be held October 10-12, 2014. The annual event is held at The Devil’s Backbone Brewery in Nelson County, Virginia. Tickets for the event go on sale coinciding with the album release on April 1 and various package deals will be available.

    The self-explanatory, “Light & Love” hits a high note of positive thinking on the metaphorical Universal energy that runs through nature and human emotion. Tales are told in these Infamous Stringdusters tunes of evolving sounds of folk, bluegrass and country jam. Most certainly, the first step in being true to oneself is to Let it Go.

  • MVCC Jams with Floodwood and The Birdseed Bandits

    What do you get when you cross the Birdseed Bandits with Floodwood?  You get one electric foot stomping, feel good, jam session.  How could this get even better?  Hold it at one of the best venues in town, the Mohawk Valley Community College’s (MVCC) IT Auditorium.  The space is designed with top notch acoustics, state of the art sound and lighting, and not a bad seat in the house.

    Floodwood at MVCC
    Floodwood at MVCC

    The show began with Adam Ludemann, Seth Becker, and Nash Robb, the trio that makes up the Birdseed Bandits, setting the bar high with their unique acoustic sounds with a strong banjo, guitar, percussion, and bass tempo.  This sound reverberates into your soul and the unique composition can’t help but make you tap your feet to the beat.  They’ve been hailed as Punk/Americana or “Punkicana,” Folk/Rock, Adirondack Folk, “Foot stomping” Folk/Punk-Rock, or Alternative Americana.  No matter what genre they are categorized within, they are definitely talented and a feel good band.

    Floodwood took the stage immediately after  and from the minute they walked out on stage you could feel the love and energy from their fans.  While the audience during the opening performance remained in their seats clapping their hands and tapping their toes to the songs, the minute Floodwood took the stage these same fans rushed to the edge of the stage to be right there in front to dance and stomp along.  This tale tell sign is a foreshadowing of what is to come for those who have never been part of a band’s shows. I must add how absolutely wonderful this venue is set up to accommodate not only those who wish to be part of the performance by dancing and singing along up front, but those who wish to remain seated during the performance without obstructions. Kudos to the venue as the design truly accommodates their audiences and bands alike.

    Floodwood didn’t disappoint as usual.  Their full set list of amazing creative sounds entranced the audience and whether fast paced or melancholy, the audience was mesmerized throughout the whole show.  But it’s the engagement with the crowd that makes them stand out as top performers.  It’s the peek into their personalities that engages the audiences.  You can see this clearly.  It’s the amazing talent and experience of true greats such as Al and Vinnie that set the bar.  It’s the interactions experienced with Nick playing the banjo or fiddle and Jason with his mandolin among the crowd that makes them part of the show.  And it’s Zach strumming the base one minute and then the next thing you know he’s down on the carpet doing pushups (which I must add were very impressive).  It is this peek into their personalities that only makes their audiences love them more and engages them as their Floodwood family.  This is true entertainment.  This is what makes them stand out.

    As a newly developed fan of Floodwood, I look forward to their upcoming shows this festival season, and want to spread the word to those who may not have seen them previously.  Floodwood is a “MUST SEE” show.  Check them out their tour schedule;  you can thank me later for introducing you to them.

  • Equifunk Leprechaun’s Ball Brings a Pot of Gold to New York City

    On St. Patrick’s Day weekend, Equifunk threw a Leprechaun’s Ball during the day at (Le) Poisson Rouge to celebrate the holiday. There was a lot of green throughout the crowd and even more smiles on stage as three bands tore through their sets and wowed the crowd with each song they played.

    Starting the afternoon was Dorsia, a four piece band that brought loads of power to the stage. With two guitars trading off solos and tight jams that effortlessly extended into the beyond, Dorsia was just the music to start the day off. Bobby Paltauf Band was next and the 14 year old and his band kept the energy up in the venue. Playing many tracks off his first album, Lost + Found, the band was comfortable and played a great set. Stand outs were “Flood Franklin Park”, “Guitar”, and “Lost + Found,” with the last track bringing the audience into an uproar with a rocked out nonstop jam. Nigel Hall joined the band during a flawless rendition of the ‘Soulive version’ of “Eleanor Rigby ” earlier in the set as well.

    The main event was Eddie Roberts & The Funky Charms who sauntered onto the stage and began to deliver a more than two hour set of covers with jams that just continuously went to beautiful and unexpected places. The all-star band included Nigel Hall, Jennifer Hartswick, Natalie Cressman, James Casey, Ron Johnson, and John Staten. All of these incredible musicians have played together in various projects before but never together, and hopefully it will happen again soon as the whole show was a highlight. Eddie stated early in the set that they were planning on doing many 80’s covers, and the crowd ate up every song. Two highlights were a great “Sweet Dreams” and an awesome “All Night Long.” Ending the night with “Let the Music Take Your Mind” the band took a bow and Equifunk successfully threw another great event. Look for the 3rd Annual Leprechaun’s Ball next year and make sure you get down to it.

    Dorsia and Bobby Paltauf Band photos courtesy of Jessica Giovannetti

  • Hearing Aide: LYON ‘Onyx’

    Daniel Lyon, drummer from Ithaca’s electronic trio SOLARiS, has released his first solo album Onyx under the name LYON. The album is under an hour with a range of 11 ambient tracks, an easy listen that is ideal for relaxing at home or in the car on a road trip. LYON is a drummer who literally steams during live performances with hard hitting beats and a dark rhythmic sound with focused energy. His solo work is no different, showcasing detailed and digital emotions that we can all relate to. His new album is available for free download and streaming via Bandcamp. You can catch LYON in action with his SOLARiS band mates at The Beagle Pub in Johnson City on the 21st of March and The Other Side in Wilkes-Barre, PA on the 22nd. SOLARiS will also be performing at one of Upstate NY’s newest Festivals, Rock n Roll Resort, in Kerhonksen, NY with tickets and rooms still available.

    onyx
    The album starts with the roar of “Animal”, a simple beat that eases you into the album with gentle echoes and light funk vibe. “Without Her” begins with beautifully sorrowful strings before it mixes with a techno melody combining a modern yet vintage twist on lost love. “Meridian” contained limitless echoes of all tones with a quick pace making for an easy groove. “Onyx” features SOLARiS keyboardist Jared Raphael, adding a futuristic funk with disco that was captivating and “The Overlook” with a groovy bass line with jazzy flair. “Small Beginnings” is the perfect ending to the album, the upbeat melody that has a great build up throughout the song, giving a taste of what’s to come with LYON’s solo work.

    Key Tracks: Without Her, Meridian, The Overlook

  • Melvin Seals and JGB Bring Smiles to All

    The smell of patchouli oil filled the air as dreadlocked, middle-aged folks wore their patchwork pants while sipping on Sierra Nevada Pale Ale. The vibe was set for a grateful night, as Melvin Seals and JGB were set to play Putnam Den on Sunday, March 2nd.

    Opening the night from Hartford, Connecticut were the Balkun Brothers. Their unique style of powerful blues, fronted by lead guitarist Steve Balkun, mixed sounds of Joe Satriani and Jimi Hendrix, an ability shown by few guitarists today. The shredding that came from every song left the crowd wanting more, and more is what they got. Showing their diversity the band also delved into a few funky songs, further proving they weren’t a one trick pony. This was even more evident in their closing number, “Fire”, by the aforementioned Jimi Hendrix, leaving the crowd in good spirits and ready for Melvin Seals and JGB.

    When Melvin and crew took the stage, everyone, including the band, was more than ready to get things rolling. They opened with the Rolling Stones classic, “Lets Spend the Night Together.” Dave Herbert’s guitar emulated the sweet harp-like harmony of Jerry Garcia perfectly. Herbert’s high pitched, fast-paced playing was a new twist that brought his unique style to JGB. The backing vocals of Shirley Starks and Cheryl Rucker were in perfect harmony with Herbert throughout the night. This rang true on the Van Morrison classic “Crazy Love,” serving as a perfect addition to an already flawless song. At this point, it seemed as if the man of the hour, Melvin Seals, was holding back; that all changed on “Get Out My Life.” Seals took the first solo and he meant business. The whining from his organ sent the crowd into a frenzy, dancing harder than they had all night. Everyone was ecstatic, but no one more than Melvin, as he sat up on the stage smiling and laughing along with everyone. The key to the whole band was the patience and steadiness of bassist John-Paul McLean and drummer Pete Lavezzoli; these two always held the jams together even when the music seemed to be heading nowhere at times; this was pure brilliance. The rest of the night followed suit as the band went through JGB favorites, “Run for the Roses,” “Cats Found Under Stars,” and “Ain’t no Bread in the Breadbox,” all played note for note and as brilliant as the originals.

    This group has dedicated their careers to honing in the JGB sound and they do not disappoint. Although Jerry may be gone, his memory and music will live as long as Melvin Seals and JGB are playing shows like this!

  • Deer Tick Pack The Hollow to the Brim

    On the first Friday of March, Deer Tick played to a rabid sold out crowd at The Hollow in Albany. Opening the show was Toy Soldiers, a fantastic band hailing from Philadelphia, who mixed rock, blues and funk into a great sound. By the end of the set the crowd was in the palm of their hands as they jammed out the last song in extended solos for each member of the band. They will be back at The Hollow on May 28th and you should make sure you see them.

    20140307 - Deer Tick 9

    Taking the stage after a short break was Deer Tick, who was welcomed by one of the most enthusiastic crowds ever seen at The Hollow. From the moment they came on stage, people were jumping and dancing around in the small space that each person occupied. The band split the show up into thirds, with the first and third part being straight up in-your-face rock and roll, and the middle portion being a beautiful acoustic section. Deer Tick showed that they can master either one with ease. Hopefully it won’t be a long time before they come back to the area.

  • A Taste of Daemon Chili

    Daemon Chili – it’s an unrecognizable name with a more-than familiar taste.  While it’s a new menu item on the bill that makes up the New England music scene, a simple rearrangement of its letters reveals that it’s a dish Upstate fans have sampled before.  Michael Dion has escaped the Zoo and has created himself anew.  He’s rising up out of the pit and bringing the heat with him.

    Seasoned with attitude, aggression, electrics, and salty Pigpen-era blues, Dion’s got his latest musical concoction boiling in the cauldron. He’s hand-picked and sourced his ingredients locally, and wafting from the steam is a fresh, sophisticated, yet uncooked sound which spices up Dion’s sensible songwriting.  With a new album set to release this month, this Massachusetts-based seven piece is breaking the winter dormancy. Daemon Chili is bubbling at the scene, offering up a saucy new sound Upstate fans will soon come to crave – even after the hottest of days.

    There are no special orders with Daemon Chili – what you hear is what you get.  And what you get stems from the true core of Dion’s songwriting.  After making a difficult, yet self-respecting decision to part ways with his Hot Day at the Zoo brethren in August of 2013, Daemon Chili became Dion’s premier musical outlet.   Yet it’s been stewing for some time now – originally formed as a solo-side project in March of 2012, Dion created Daemon Chili to feed his hunger for more diverse musical tastes.  The burly, hoot-n-holler edge Dion brought to the Upstate roots/Americana scene was beginning to fade from Hot Day’s signature sound, and if Dion wished to stay true to himself as an artist, he needed to blaze new trails.  “When I left the band [HDATZ], I was ready to turn the page and start the next chapter of my musical career,” notes Dion.  “I knew that I would be going for a bigger, more aggressive sound, and as far as I’m concerned, this is the way my music was always meant to sound.”

    Daemon ChiliDrawing on a select group of highly acclaimed and talented musicians, Dion unearthed his roots to get the full flavor profile he was seeking in the creation of Daemon Chili.   “I went back to my college days at U-Mass Lowell where I was first exposed to great live music played by guys who had a lot of experience over me,” reflects Dion.  “These guys were ripping up the Lowell music scene, and so, naturally, they became my mentors.”  Specifically, there were two bands that had a profound impact on Dion in those days – the aggressive sound of rock n roll legends, Cotton Mouth and an instrumental jazz/funk quintet with, as Dion puts it, “a rhythm section straight from Hell” known as The Freelance Bishops.  Together, members from these two groups make for the complex flavor that is Daemon Chili.

    Cotton Mouth guitarists Jason Moretti (lead) and Tim Kochanski (rhythm) offer a taste of wild, unrestrained, nitty-gritty blues to what’s stewing in the pot, and balanced with that is the sophisticated, superior musicianship of The Freelance Bishops: Steve Benson (pedal steel/electric mandolin)/back-up bass), Jay Breen (drums), and Jeremy Parker (keys).  According to Dion, the process of forming Daemon Chili happened quite naturally, yet securing a bass player proved to be a bit tricky.

    The band’s latest recording showcases New Hampshire Seacoast legend Keith Foley holding it down on the low-end, but due to a recent band relocation, Matt Giannaros (Ryan Montbleau Band) has been recruited as Daemon Chili’s binding agent, effortlessly holding the band together as they compliment Dion’s songwriting in a new, murderous light. “I’m just happy to be in there somewhere, hanging on by a thread sometimes to keep up with these monsters,” attests Dion.  “I am a blue collar, working-class musician who just learned how to play as I went.  I hold no illusions that I would have any business on the same stage as any of these guys if I could not write music.”

    Daemon ChiliAnd while the talent of these monsters certainly add spice, heat, and texture to the band’s sound, the heartiness is in Dion’s songwriting – old familiar tunes coupled with new tales of inspiration are the meat and taters absorbing it all.  With Daemon Chili, the mixture’s just right, and it’s clear that Dion’s hit a sweet spot. In the short-time since the band’s inception, not only have they been nominated for “New Act of the Year” at the 2014 New England Music Awards, but their debut full-length album, Rise Up is set to release Saturday, March 22nd at Johnny D’s in Boston, MA with an online pre-release date of March 17th.

    Only the 10-track EP is a Jackyl and Hyde of sorts.  As Dion notes, “the collective band name of Daemon Chili plays on the binary opposites of good and evil, fully embracing them both” and the same can certainly be said of the tracks on Rise Up.   The first five songs are Dion originals that feature members of Hot Day at the Zoo. Recorded at Wonka Studios in Lowell, MA, the tracks were originally intended to be released on South of the Storm, a HDATZ album that never saw the light of day.  “Regardless of how people feel, what we [HDATZ] created during that time is something I still believe in,” expresses Dion – a sentiment that played a large role in the decision to include: “Boom Boom Boom,” “Lay Your Burden Down,” “Madman on the Loose,” “Country Girl,” and “My Song to You” on Rise Up’s final cut.

    Daemon ChiliThe album switches gears with the last five tunes, moving away from ironed collars and finely- tuned acoustics to electrics, aggression, and dirty-rotten blues.  Recorded live at the Stone Church in Newmarket, NH on New Year’s Eve, these tracks feature the current Daemon Chili lineup (Giannaros excluded) and showcase new arrangements of old-favorites, “Gypsy Moon“ (Long Way Home) and “Boston Blues” (Zoograss), alongside fresh material.  And despite the shift, if there is one thing to be said about Dion, it’s that he’s a poet.  His English credentials aside, the lyrical content of his work offers a subtlety to his unapologetic nature – a spirit that is clearly emulated in the musical artistry of Daemon Chili.

    “Take Sounding,” Rise Up’s single and subsequently the latest tune Dion has written, is a prime example of this sentiment. Written as a gift to the godfather of his daughter and best friend (a sailor), “Take Sounding“ is splashing with oceanic terms and imagery; nautical and mythological elements move in waves throughout, and it sails along at a relaxed pace – yet the no-bullshit tone of the rest of the album is not washed away completely.  Not only is it a track that reflects Dion’s passion for songwriting, but the freshness of the material has allowed the guys of Daemon Chili to take ownership of it as well.

    Daemon ChiliAnother note-worthy track, “Blood Burning Moon,” is a metaphor for the shit in life – for the heaviness that brings you down, yet it offers a way to push through and traverse.  While listening, one can’t help but wonder if, in the third verse, Dion’s singing about the Hot Day fellas when he sings “I’ve come into the dark at the edge of the wood… and here and now must choose… between turning my back on my brothers for good… or leave the cross-roads singing the blues.”

    The creation of Daemon Chili and the release of Rise Up certainly offers a resolution to the above mentioned dilemma.  Had Dion decided to retire from music completely post-Hot Day, perhaps he would have been “Another Goodman Gone” before his time; yet he’s held his course and cast away all worries and pride.  “Understand, I never got into music for the money, the fame, or the thrill of the rock star lifestyle,” expresses Dion.  “I write and play music because it’s what keeps blood pumping through my veins.  It’s what gives me purpose and keeps me focused and driven and sane.  It is quite simply what defines me.”  Michael Dion is Daemon Chili.  Take it or leave it Upstate; with just one taste, plenty of folks will be left licking empty bowls.

    Daemon ChiliFor more information on Daemon Chili, including information on how to purchase Rise Up, please visit their website.