Mike Dillon has spent the last three decades performing well over 200 shows a year with both his own band, as well as playing vibraphone and percussion with artists like Rickie Lee Jones, Les Claypool and Ani DiFranco. So when the pandemic hit in early 2020 forcing Dillon off the road, he instinctively directed his perpetually restless creative energy to writing and recording. Residing in Kansas City after spending 15 years in New Orleans, Dillon and producer Chad Meise would track a trilogy of albums: Shoot The Moon, Suitcase Man and 1918. The third in the trilogy of albums, ‘1918’ focuses on Dillon's instrumentals: the dank and dark Moog/tabla/vibraphone psych vibe of 'Pinocchio' the electro analog trance of 'Pelagic' and the jungle groove, pace rock of the title track. The instrumental tracks, as well as a handful of vocal-based tunes address the Covid-19 pandemic and recent social issues. 'The parallels between 1918 and 2020 are immense. We just have fancier toys, but the tunnel vision and mammalian tendencies are the same if not greater' explains Dillon. A native of San Antonio, Texas, Mike Dillon got his start as a sideman, playing in such varied projects as MC 900 Foot Jesus, Brave Combo and Secret Chiefs 3. He's also served as an integral member of bands like Critters Buggin, Garage A Trois, Dead Kenny Gs and Nolatet, while leading Billy Goat, Hairy Apes BMX and Malachy Papers. Under his own name, he's amassed an extensive catalog of genre-defying recordings. Touring relentlessly, he’s built one of the most loyal fanbases on the underground music scene, while being invited to share bills with bands including Clutch, Umphrey's McGee and Dean Ween Group.