Hawaiian Concert Guide Show 703 - The Bermuda Triangle

Hawaiian Concert Guide Show 703

The Bermuda Triangle

Hawaiian Concert Guide Show 703, titled “The Bermuda Triangle”, is structured as a three-point journey through contemporary Hawaiian music, traditional mele, and the stylized mid-century exotica genre. The title reflects this triangular movement—authentic Hawaiian expression, modern interpretation, and the globalized “tiki-era” imagination of island sound. Rather than presenting these as competing styles, this episode places them in dialogue, allowing listeners to hear both contrast and continuity across eras and intentions.

The first portion of the show is anchored in contemporary Hawaiian music that remains deeply connected to language, land, and cultural identity. Artists like Ei Nei, Eric Lee, and Kaleo Phillips demonstrate how Hawaiian music continues to evolve while maintaining strong ties to mele traditions, storytelling, and regional pride. The midpoint exotica segment introduces a historical divergence, highlighting how Hawaiian and Pacific imagery was interpreted for global audiences in the mid-20th century. The show ultimately resolves this contrast by returning to the foundational sound of Ho‘okena, whose vocal harmonies and closing oli reconnect the listener with Hawaiian cultural roots.

A notable production detail in this episode is the inclusion of material from Eric Lee’s album The Islands Are Calling, which features collaborative songwriting contributions, including respected Hawaiian musician and producer Moon Kauakahi. Known for his work with Nā Leo Pilimehana and his influence as a songwriter, arranger, and producer, Moon Kauakahi’s involvement adds an additional layer of musical credibility and craftsmanship to the album’s compositions.

Track-by-Track Reference

“Kauikeōlani,” performed by Ei Nei from the album Ei Nei, Look At Us (track 1 of 14, duration 2:18, categorized under Worldwide/Hawaiian contemporary), opens the episode with a composed and reverent tone. Ei Nei is a trio known for its refined vocal harmonies and contemporary production style, often blending Hawaiian language with modern melodic sensibilities. This track functions as a ceremonial introduction, with phrasing and pacing that evoke the structure of a mele inoa, honoring historical and cultural legacy.

“Aia I Ka Maui (Ka Maui),” also by Ei Nei from Ei Nei, Look At Us (track 2 of 14, duration 3:15, Worldwide/Hawaiian contemporary), continues with a place-based composition centered on Maui. The song reflects the Hawaiian tradition of mele ʻāina, where land is not simply described but honored as a living entity tied to identity and ancestry. Ei Nei’s arrangement balances accessibility with cultural authenticity, making the piece both engaging and meaningful.

“The Islands Are Calling,” performed by Eric Lee from the album The Islands Are Calling (track 1 of 10, duration 4:17, Hawaiian genre), introduces a broader melodic structure that leans into contemporary island music while maintaining Hawaiian thematic elements. The song reflects a sense of invitation and connection, often interpreted as a call back to Hawai‘i for those who have left or feel spiritually tied to the islands. The album itself includes collaborative songwriting contributions, with Moon Kauakahi credited as a co-writer on select tracks, reinforcing the project’s strong ties to established Hawaiian music traditions.

“Hanohano Kilauea Ku I Ka La‘i,” also by Eric Lee from The Islands Are Calling (track 2 of 10, duration 4:02, Hawaiian genre), is a tribute to Kīlauea. The use of the word “hanohano” places the song within the category of praise compositions, aligning with traditional mele that honor significant natural and cultural landmarks. The piece reflects both the physical presence of the volcano and its deeper cultural associations, including its connection to Pele, the Hawaiian deity of fire and volcanoes.

“Ka Nani a‘o Ka‘u,” performed by Kaleo Phillips from the album E Mama (track 2 of 13, duration 3:55, Hawaiian genre), highlights the Ka‘ū district of Hawai‘i Island. Kaleo Phillips is recognized for his smooth vocal delivery and emotionally grounded songwriting. This track emphasizes regional pride and the beauty of place, continuing the episode’s strong thematic focus on land and identity.

“Hilina‘i Mau,” also by Kaleo Phillips from E Mama (track 3 of 13, duration 3:49, Hawaiian genre), provides a reflective and emotionally centered moment in the program. The phrase suggests ongoing trust or reliance, and the song’s tone supports this interpretation through its gentle pacing and expressive phrasing. It serves as a transition point before the stylistic shift into exotica.

The “Exotica Segment Intro,” credited to pik00 (duration 4:10, categorized as Promo), marks a deliberate transition in the episode. This segment acknowledges a different chapter in the global perception of Hawaiian and Pacific music, one shaped more by imagination and stylization than by cultural authenticity. The intro prepares listeners for this contrast.

“Jungle Madness,” performed by :contentReference[oaicite:0]{index=0} from the album Hypnotique (track 1 of 11, duration 3:35, Exotica genre), is a defining example of the exotica style. Martin Denny is widely regarded as a pioneer of the genre, which emerged in the 1950s and featured layered percussion, environmental sound effects, and an atmospheric approach to composition. While inspired by Pacific imagery, exotica music represents a Western interpretation rather than an authentic Hawaiian tradition.

“Wipe Out,” performed by :contentReference[oaicite:1]{index=1} from the album Hapa Haole with a Twist (track 9, duration 1:04, Exotica genre), offers a brief and energetic surf-style interlude. Les Waikikings, a Belgian group, became known for instrumental surf interpretations with a tropical aesthetic. This track connects the exotica segment with surf rock influences, further illustrating how Hawaiian imagery spread globally in musical form.

“Mahukona,” performed by Ho‘okena from the album Ho‘okena 5 (track 14 of 14, duration 4:39, Hawaiian genre), re-centers the episode in authentic Hawaiian music. Ho‘okena is known for its mastery of vocal harmony, including the use of traditional falsetto techniques. The song references Mahukona, a historic harbor area on Hawai‘i Island, continuing the theme of place-based storytelling.

“Mele O Nā Kai ‘Ewalu (Oli),” also by Ho‘okena from the album Nā Kai ‘Ewalu (track 1 of 13, duration 1:00, Hawaiian genre), concludes the episode with a chant. As an oli, the performance is unaccompanied and rooted in Hawaiian oral tradition. The title references the “eight seas,” evoking themes of navigation, connection, and heritage. Ending the show with an oli provides a strong cultural resolution, bringing the listener back to the foundational elements of Hawaiian identity.

Mahalo for joining us for Hawaiian Concert Guide Show 703, “The Bermuda Triangle.” This episode demonstrates how Hawaiian music exists across multiple dimensions—traditional, contemporary, and interpreted—while always maintaining a core connection to land, language, and culture.