Alternative Electronic Rock
With a big smile and a wild toss of his dreadlocks, Bing Fütch kicks off every performance with a buoyant energy that is inviting and energizing. Using Appalachian mountain dulcimer, Native American flute, ukulele, drums and electronic effects, he deftly navigates the varied waters of folk and pop with passion, wit and a genuinely huge heart for sharing music with a crowd.
Known for his musical shape-shifting, Fütch switches the channels on style with every new song, sung in a limber tenor voice and woven together with the other instruments. His casual way with any audience, coupled with a fierce originality on the lesser known mountain dulcimer, makes each show a one-of-a-kind and good-timing romp.
As a nationally touring solo performer he's headlined at such events as The Florida Folk Festival, Old Songs Festival, The Big Muddy, Kentucky Music Weekend and Common Ground On The Hill.
With a strong love for traditional music, Fütch has enjoyed a career on both sides of the folk and rock divide, first as guitarist for CCM post-punkers Crazed Bunnyz in 1986 and much later in 1999 as co-founder of Mohave on mountain dulcimer. That band, with bassist Mike Burney and drummer McGyver, took off after their debut performance at the House of Blues at Walt Disney World and over the course of the next seven years would become a crowd favorite and open for the likes of Molly Hatchet, St. Somewhere and The Crests.
In 2006, Fütch began performing solo at county fairs and festivals across the country, along the way opening for Grammy-award nominated artists Sam & Ruby, bluesman Scott Ainslie and sharing the stage with Grammy-award nominated act The Dixie Beeliners among others.
Fütch's music has been featured in film and video productions, video game soundtracks and exhibits at the Orlando Museum of Art. He was composer and musical director for “The Jungle Book: A Musical Adaptation” which ran for 66 shows at Stage Left Theater in Orlando, Florida. He also contributed music to the soundtrack of The Castle of Miracles at Give Kids The World Village in Kissimmee, Florida.
When not performing, Fütch can be found teaching music workshops at various festivals and colleges, presenting music education programs at schools and libraries and producing episodes of his video podcast “Dulcimerica” which has been viewed by over a million people worldwide and is currently in its eighth season. He lives in Orlando, Florida with his wife, Jae, and a menagerie of critters.“
In the April 1989 issue of The Cutting Edge, Fütch mentioned working on several projects that may or may not have been released:
|1986||Castaway||Castaway: Original Soundtrack, Part 1||Plan 7 Dist|
|1986||Mike Fütch||Kansas (Castaway Part 2)||Plan 7 Dist|
|1987||Mike Fütch||Buy Dis Album Ore God Will Disconnect My Fone (Castaway Part 3)||Plan 7 Dist|
|1987||Mike Fütch||The Girl in the Book||Plan 7 Dist|
|1987||Fütch||21||Plan 7 Dist|
|1988||Mikael Futch||Farting Around|
|1989||Mike Fütch||Fantasy Amidst The Storm|
|198?||Mike Fütch||Lifestyles of the Dull and Boring|
|1990||Mike Fütch||Occasional Sins|
|1994||Bing Fütch||70 mm|
1986 Plan 7 Dist (P7D-003)
Castaway (Mike Fütch) – All vocals and instruments
1986 Plan 7 Dist (P7D-005)
Mike Fütch – All vocals and instruments
1987 Plan 7 Dist (P7D-007)
Written, produced, and performed by The Fütch Man
1987 Plan 7 Dist (P7D-008)
Project executed by Mike Fütch
1987 Plan 7 Dist (P7D-010)
Fütch – Vocals, synthesizer, drum programs, dulcimer
Written and preformed by Mike Futch except for “Sukiyaka” by H. Hakamura
“Described as “an electronic theater-hopping experience”, this instrumental album by Mohave founder Bing Fütch is a freewheeling excursion through a sonic landscape of moods, memories and magic. The CD is a partial showcase for five tracks that were written for the soundtrack of a children's attraction called The Castle Of Miracles at Give Kids The World Village in Kissimmee, Florida. “Four Faerie Tales” is a 16th century suite of Renaissance music while “How To Build A Castle” is a shape-shifting overture that plays like the final moments of a major motion picture.
The rest of the album is a progressively entertaining blend of heavy rhythmic synth-pop and new-age textures woven together in unusual arrangements. From the intergalactic cathedral sounds of “The Long Journey Home: 1994” to the hard-hitting arena groove of “Marryin' The Music”, Fütch weaves a dizzying web of musical layers and styles.