“If you put 80's Progressive Pop and 90's Underground Alternative in a blender you get Everyday Dolores”
— Mike Ulliman
EVERYDAY DOLORES FULL BIO
Every band comes with a story about how they got to where they are, which is why it is crucial to understand Michael Ulliman’s fascinating journey that led him to create Everyday Dolores. As a musician with a strong passion for all things rock, Ulliman takes pride in creating a sound that is unique, progressive and powerful. His music is reminiscent of past progressive-rock legends of the 80’s, with a modern twist of 90’s underground alternative sensibility to create a familiar but unique sound for the 2020’s. His innovative sound and passion for music are the groundwork behind his consistent effort of creating music that is technically proficient while still being accessible to those who love rock and pop music with an edge.
HISTORY
Before the foundation of Everyday Dolores, Ulliman was the lead guitarist for The Guernseys, a pre-alt rock band before alt rock was commercially popular. The Guernseys were an integral part of the burgeoning late 80’s South Florida alternative music scene. Along with Chris Ticknor (bass) and Phillip Tremblay (drums), The Guernseys shared stages with bands like Marilyn Manson and the Spooky Kids, Native Tongues, Milky Filth and Box. Chris and Mike later brought The Guernseys to the vibrant punk and alternative rock scene of The University of Florida in Gainesville, Fl which touted bands like Less Than Jake, Aleka’s Attic, Jubilation and Sister Hazel. Having built a small following with some radio support, Chris left to pursue his Rock-n-Roll dreams in California and Ulliman found himself back in South Florida with no band and huge aspirations to continue his music career.
Everyday Dolores was then formed as a three-piece in the mid 90’s with close friends and jazz students, Anthony Perez (bass) and Miguel Rivero (drums) who set out to once again take over the South Florida alternative rock scene with bands like Doorway 27, Idols and Others and Nonpoint. Higher musical education took Anthony and Miguel away to school which also became the deciding factor for Ulliman to rejoin Ticknor in San Francisco, CA to play with the short lived folk/pop outfit Soda. It is then that Ulliman started and fronted the alternative/punk band Even3 with Ticknor on bass, and Bret Everett from Apostles fame on drums. Even3 released a self-titled 5 song EP and toured regionally around the S.F. Bay Area with some remembering the underground hit “Piece of Shit Car” which ultimately gained the attention of Sony Japan. More on that later…With Ticknor and Everett moving from San Francisco to L.A. to pursue corporate careers, Ulliman resurrected Everyday Dolores as a solo outfit despite a successful “.com” career in the now famed Silicon Valley. Ulliman would write, produce, play and record all ED’s music with guest musicians contributing from time to time. His first solo effort under Everyday Dolores called “One Last Thing Before I Go” is a tribute to his late half-brothers Timothy and Mark O’Connor and is where his alt progressive rock leanings started to show in his writing and production which attracted fans as far as the UK, Germany, France and even Australia. Make note that we’re not talking the progressive rock opuses of early Genesis and YES, but rather the shortened songs of 80’s prog-rock reminiscent of RUSH - Moving Pictures, YES - 90125 and Genesis - ABACAB. Songs containing out of the box chord structures and arrangements with thoughtfully crafted lyrics create a complete and immersive soundscape for a listener to lose themselves. Combine that with Ulliman’s 90’s alternative rock upbringing with bands like Jane’s Addiction, R.E.M, Soundgarden and even jam-rockers, PHISH and you start to scratch the surface of Everyday Dolores. After the release of “One Last Thing Before I Go” Ulliman’s corporate career brought him to Atlanta, Ga where he met his wife Shelley. Shelley’s career brought them across the planet to Tokyo, Japan where Ulliman resurrected Even3 with Jyosh Kato on drums and his son, Kenji on bass. Even3 re-recorded and released a video for “Piece of Shit Car” which caught the attention of Sony Japan but they wanted to re-mix the song and did…but when Ulliman heard the song turned into a heavily auto-tuned, dance version of its former glory he tabled the Sony Japan discussions as it was far from the direction the band wanted to go.
To further understand Everyday Dolores, you have to understand the name's multiple meanings and interpretations. Hispanic original members, Anthony Perez and Miguel Rivero pointed out that ‘Dolores’ translates as ‘pains’ or ‘money’ in Spanish depending on where you put the phonetic emphasis on the word. When you combine “Everyday” in English and “Dolores'' in Spanish, you get “Everyday Pains'' or “Everyday Money” which indirectly recognizes part of what it means to be human in today’s society and solidified Ulliman’s dedication to using the name and that is exactly what the songs represent…the pains everyone experiences when going through everyday life. Accepting the good with the bad, and the mended with the broken. Holding space for both to exist and embracing the power of being human is what Everyday Dolores was built on. To understand the importance of the latest release, Sunflower, you’ll have to dig a little deeper.
In 2014, Ulliman’s wife tragically passed away from a sudden aneurysm. Ulliman’s entire existence shifted as he questioned what it meant to truly live. Knowing that tomorrow isn’t promised, and with the hopes of obtaining personal fulfillment, he quit his successful career as a digital marketer for a Fortune 500 company, built a recording studio that rivals any Atlanta recording studio, and started writing and recording Sunflower in tribute to his wife’s passing. Ulliman now understood he was not put on the planet to pedal internet traffic, but to follow his passion as a full-time musician and producer. “Sunflower” is most definitely Ulliman’s career defining work and proudest moment. Ulliman’s late wife being the catalyst for this record, he proceeded with pure intentions of creating music that would be relatable, refreshing and healing for both him and those who have experienced tragedy. Intentions accomplished! Ulliman’s late wife’s favorite flower was the beloved Sunflower. The album's name and cover art is a tribute to the life she lived proudly and fully in spite of the darkness in today’s world. The album’s message exemplifies what it means to be hopeful, bright and purposeful like the sunflower—always facing towards the sun and when the sun is blocked, facing towards another Sunflower.
Just like the rest of the album, the album’s single, “Can You Hear Me (On the Other Side)?” was written, produced, recorded and mixed by Ulliman himself in his studio Left of Center Music in Atlanta, GA. This song was chosen as the album’s single because it deals with the passing of his wife, and identifies with a feeling of grief which most people can relate to. The song expresses Mike’s questioning what life is like “on the other side” after a loved one has spiritually passed on. (“Can you hear me when I call your name?”) Michael worked with accomplished video producer, Paul Razza, and renowned New York director, Alex Haney to release an impressive, complex, ‘life after death’ themed music video due to be released December 10th, 2022…on his late wife’s birthday.
“Sunflower” is available on all digital outlets but most importantly is a “vinyl first” release where Ulliman has delivered a limited edition of “music meets art” gatefold package containing splatter vinyl that looks like a Sunflower, a poster of the original cover art by fine artist, Amanda Henke, original photos not found anywhere else with every album hand numbered in gold paint by Ulliman himself. Truly a package any vinyl lover or collector should have!
Listen to the single "Can You Hear Me (On the Other Side)?
CONTACT: mike@leftofcentermusic.com