Michael Joseph Ulery and his music represent a cultural cross-section of many Americans. This mixed heritage ranges from Native Americans–to the farmers of Kentucky–to the hills of West Virginia and Scotland. Michael never consciously set out to integrate these roots into his music, although, as he has learned, our roots are inevitable; by embracing these roots, you help keep your ancestors alive, especially through music.

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The latest release, Mild November, is a return to Michael's Americana roots. The initial three songs and the title track are seated in the American Primitive, Americana, and folk-blues vein. Other tracks nod toward Michael's Celtic roots. For example, Biscuit Tin, originally written during his first release, O-Glepi, was reimagined after Michael had returned from visiting his Scottish ancestral roots in the Isle of Skye in the Northern highlands of Scotland. Several other tracks, The Sketch and Pure Biscuit Tin, almost burgeon into the ambient and World music categories–due to their non-linear compositional structure. 

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The evolution of Michael's musical style is a testament to his diverse talents and adventures. Starting at twelve on a guitar, he has honed in on a range of musical skills that have become a part of his unique style. From acoustic and electric guitar to bass guitar, ¾ upright, mandolin, traditional flute, and hand drums, Michael's musical repertoire is as diverse as his influences and experiences, culminating in a robust and unique style medley.

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Michael's musical influences began in a typical pre-teen sense of Hard Rock and heavy metal with an additional Punk Rock edge. Although coinciding with that point in his developing years, he also developed an appreciation for Classical, Jazz, traditional Blues, and Country/ Bluegrass. However, by age fifteen, he had played bass for a locally successful punk band called Armageddon A.D. He later journeyed as a guitarist or bassist for harder-edged groups like Restless Breed, Speed of Fright, Throat, and Soulscrape/ Overjoy until the age of twenty-six. He then began to lean towards the acoustic side of music. At that time, he also started to explore his ancestral roots and traditional Native American music, especially the flute.

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While exploring a side of his heritage, a ceremonial leader taught him to drum and sing alongside some singers from the Rosebud reservation. This area of his musical development was consequently practiced in a traditional Lakota way. Furthermore, these experiences helped to enable an outpouring of music for his first independent LP release, "O-Glepi," which stemmed from these experiences. Yet, the musical outpouring of ancestral influences was not entirely limited to American Indian roots. It can also be attributed to exposure to Bluegrass and "Old-time Banjo picking." As a child, he heard stories of his grandfather, born in the Appalachian region, playing banjo alongside accordion, harmonica, and fiddle players. 

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These experiences, teachings, and Michael's early love of the guitar have combined into his music, which directly reflects a culture that bridges much of society and the typical roots of American music, along with the members who have brought us today's influential sound. 

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