If it's one thing Dylan DiMarco knows it's that if you're not a progressive musician, you're a regressive musician. Born in the beautiful yet monotonous outskirts just beyond New York City, DiMarco relocated to the city proper at the age of eighteen to pursue the dream that one day he may perhaps correct today's mistaken music industry. He may do just that, that is, if mixing all-American, top man aesthetics with lush instrumentals, menacing vocals and poetic narrative is the future of music history. And yet the artist's mind is an impressionable one; one can hear hints of musical influence ranging from Pink Floyd, Zeppelin and Bowie to Kool & The Gang, Blondie and Mylene Farmer carefully positioned within DiMarco's work. But then what is it but a story that defines an artist: a man that started as a boy, classically trained on piano, self-taught on guitar and left with no choice but to introvert himself into his imagination which the monotony and ennui of suburban Long Island regularly exercised. Phenomenon, DiMarco's debut record, and a body of work that is if not almost entirely self-created, was written and recorded two years ago in an Upper East Side tenement and independently released shortly afterward. Semi-autobiographical in nature, it is a musical narrative whose protagonist finds himself growing into an adult and succumbing to newfound vices, the most emphasized of which, interestingly enough, is a defining lust for fame and glory. Perhaps this was a cathartic choice for DiMarco, as while he has denounced the desire as shallow and meaningless, he still finds himself at fame's mercy in attempting to render his musical coup d'etat effective.
Since its release DiMarco has took to the streets of downtown Manhattan to perform the work in one of the most historic and lucrative music scenes in the world, and where countless music legends of the past were given their humble beginnings.