Daemon Chili’s sophomore CD Mercy Of The Sea features more of the glorious roots rock celebratory feeling of their debut album from last year. Daemon Chili have a huge sound, a tapestry of acoustic folksy instrumentation and electric guitars, organs, and drums woven into something that unfurls like a shiny, summertime banner. Or, sometimes a dark banner.
Opening track “Taking Sound” features the usual hefty gust of vocals from Mike Dion supported by pretty pedal steel melody, swirling organ chords, and a mesh of acoustic instruments. The melodies seem to sail over the rhythm section while actually riding its groove to the sweet end. Vocalist Dion croons with a majestic, neo hippie confidence, belting out his lyrics with a circus barker like announcement. This isn’t a song to follow as much as big, fun mesh of things to lose oneself in.
Title track “Mercy Of The Sea” feels closer to a straight up rock and roll song. Only Dion’s voice keeps it feeling rootsie. He sings his lyrics with a flinty delivery at a clipped pace. The electric guitar running alongside his vocal is bracing and stabbing, something that rocks with respect for the groove. An organ emits sharp, snappy chords, furthering the wide rocking vibe that this outfit is known for. The number’s winsome vibe could turn any room into an instant party scene with its hip, infectious energy.
“Lost” is a mid-tempo Bayou flavored, horn laden, trot through a tasty soundscape. Its thick, swampy groove will make you want to skip down the sidewalk on Bourbon Street while following its brassy horn melody. Dion is richly full of character and personality as he guides his listener along. A pedal steel slowly boogies its melodic line forward with a few zig zagging motions to keep it funky. This tune plays out like a soundtrack to a movie’s happy triumphant scene, and its weave of instruments make it a true joy ride.
Riding in with an edgy electric guitar phrase, “Full Of Sin” is loaded with brisk melodic twists and a sweet texture from female backing vocalist Jes Sheldon, giving the song an extra dimension each time she backs the main vocal melody line. This heft of vocals is the perfect centerpiece to a song brimming with a marching band’s swaying energy. A harmonica line alone is worth of the price of admission. Drummer Jay Breen guides this along its groove with aplomb and punctuates its main theme well when the time comes. Traces of other instruments also augment this number with a fullness that cannot be beat.
“Devil Woman” is a bluesy lounge number. Its piano bar feel emanates from the keyboards with a spiritual zeal wrapped up in flinty guitar lines, fibrous organ chords, and a deliciously pulpy groove. One can feel soul coming out of bass guitar Jay Samiagio’s amp. Dion sings this one with a raw, soulful, mournful feel, his raspy voice carrying one through a maze of unhappy scenarios. He also makes one feel the powerful allure of the devil woman that haunts a man’s mind while destroying his life. The devil woman might be bad news but this song is the good news spreading the gospel with the heft of a powerful hymn.
“Blues For Jimmy” is a stomping, two-step, shuffling blues. The old time quality of this song shines through in its raspy vocal and in its vintage piano style. Dion has a whiskey soaked vocal here and the thumpy, swinging, swaying band behind him is a hoot. A piano solo gives us more of what yesteryear was about musically, and its horn section transports one way to a beer hall in a previous, more lively decade. This song’s lyrics also perfectly capture the lifestyle of working class folks, folks who hit the bars once their shift was over.
Another mid-tempo cruiser, “Boott Mill Flavor,” finds Dion crooning blissfully about one of his favorite dishes at one of his favorite diners. This simple ditty makes the most of an organ that constantly grinds out waves of earthy, organic swirls. A thumpy follow up from a strikingly good rhythm section keeps spanking this song homeward.
“Great Blue Sea” wafts in with a pretty pedal steel melody and a breezy organ line. Dion carries us through like a friendly tour guide, pausing just long to let us know what’s going on in the song before moving with its fine twists into the next lyric. A fuzzy guitar line takes control briefly with its fine phrasing before finding its home amidst the other players. It’s the sudden shifts in motion that makes this song work. It’s as pleasant as a boat ride, changing directions with only a slight motion beneath the deck to let you know the boat is turning.
“Wicked Blues” is a more rocking affair. It is built to make you feel like drinking, dancing, partying, or fighting. Raspy, smoky vocals lead the listener through the wild party atmosphere of this song. A particularly feisty guitar keeps speaking up with its wiry, high-pitched voicing, a thing of beauty in the midst of this wilding.
“Seven Deadly Sins” is a rollicking rocker. Combining blues, southern rock, and shuffle, this one barrels down the highway in first gear. Swaggering lead vocals, fiery guitar lines, and a hard driving rhythm section keep the fire burning and traveling at once. This tune shows that Daemon Chili are at heart a bunch of bar room rockers who just happen to play a lot better than the average bar room rock band.
Daemon Chili close out with “In April,” a down tempo piano ballad featuring some particularly good vocal work from Mike Dion. Dion’s character rich voice reminds us of one of the reasons why we like this band, as does the guest piano line from Nick Heys that he rides.
Daemon Chili have created a strong follow up to their debut CD. This Mercy Of The Sea album is brimming with fine roots rock offerings. Their songs are even grander but also tighter this time around. This band will be selling a lot of CDs, playing many venues, and drawing many followers. There is just too much allure in their music for them to fail.
https://www.facebook.com/events/768144463289566/
