Thursday 24 Apr

IndianGiver - Understudies

There’s a difference between being derivative and being inspired by something, a line a lot of artists can’t seem to find — or at least don’t care to.
04/22/2014 | Comments 0

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0
Home · Articles · Music · Music · Who’s That?

Who’s That?

Armed with his trusty Magic Pipe, That 1 Guy isn’t your average one-man band.

Kevin Pickard January 29th, 2014

That 1 Guy

8 p.m. Tuesday


113 N. Crawford Ave, Norman



When you see a guy standing alone onstage, next to a pair of connected steel pipes and wearing a top hat, you might be a bit taken aback. Mike Silverman — the one-man act called That 1 Guy — is completely aware of how he looks.

“Where did that thing come from?” he asked, characterizing the response someone might give to the instrument he constructed himself.

He calls it the Magic Pipe. Silverman creates various sounds by plucking, slapping or bowing the two strings on the pipe, and then he produces percussion by beating on the steel pipe itself. He knows what people might be thinking: “Why the hell is this guy doing this?” But this seemingly random, industrial-looking instrument is the culmination of a fairly linear process.

A classically trained bassist, Silverman started experimenting as a one-man band in the mid-’90s with two distinct projects. In one of them, he would play a double bass, which he ran through loops and effects, resulting in an ambient sound. In contrast, his other project was more song-oriented, using a one-string electric bass and an old drum machine.

“The magic pipe was almost a way to combine those two worlds,” he said.

Looking for something that would allow him to expand his aggressive, rhythm-heavy bass style with structured songs, he began conceptualizing the Magic Pipe in 1999. After receiving a $10,000 estimate from a professional instrument builder, a friend suggested Silverman build it himself. Silverman built a rough, very heavy version of the Magic Pipe, combining a basic knowledge of signal pads, electricity and soldering with help from a guitar player friend who was also an electrical engineer.

Having just finished recording his fifth album as That 1 Guy, Silverman’s sound has fully evolved from the minimalist rock songs he created with his one-string bass and drum machine to something larger.

Part of this has to do with his recording process. He recorded his early albums live in studio. Now, with the help of studio engineer Billy Hume, he pays more attention to the details.

“I think it’s my best work,” Silverman said.

He even surprises himself with how traditionalist he has become with his songwriting.

“Wow, it really has a verse, a chorus, a verse and then it has a solo in the middle,” he said about one of his favorite tracks on the new album. “It’s kind of a ridiculous idea because everything I do is a solo. I mean, I’m playing by myself.”

Silverman remains confident that his evolution as an artist has been for the best.

“I feel like I’m really looking at the songs and I’m really looking at the bigger picture in terms of where all the little parts fit into the big picture,” he said. “It’s been interesting.”

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