I write musician bios and press releases for all kinds of artists and the people that work with them. As a veteran music journalist, I know what gets critics excited to review albums.
Your bio is your first impression, so let's make it a good one!
Since 2008, I have written music pr materials, usually bios and press releases.
I've written for PR firms, record labels, artists' management, and many independent musicians who run the genre gamut.
I've written for Grammy-winning producer Mike Elizondo and Juno award-nominated band Dala.
My process includes repeated listens to your music, an email interview, reviewing your past press materials, researching the campaigns of musicians who do similar work, being "on call" for your questions, and revisions done until you're happy with the finished product.
My usual rate is $350, which can be negotiable.
I've included some samples of my work below. You can use the contact form at the bottom if you're interested in hiring me.
Here's kind words from singer-songwriter. Marty Finkel, with whom I've worked several times:
"Erin has the innate ability to draw out an artist's passion and put it into words. Whether she's writing press materials, bios, or reviews she is able to project the excitement behind new works. Erin is personable, easy to work with, and I cannot recommend her enough."
Ashley Myles bio
On her debut EP Tides, Ashley Myles sings about tides, fires, and storms—all phenomena that could describe her voice. Her powerhouse vocals are tsunamis and fireworks and hurricanes, but they’re also wading pools and sparks and squalls. Within her power, she channels the obstacles that made her that way.
Mystery Rose bio
On her debut LP Socially Distant (out October 15, 2021), LA’s Mystery Rose establishes herself as an emerging rock/pop phenom. Deployed in torch ballads and pop-punk numbers, her wise-beyond her-years songwriting imbues the 11 songs. Though she’s obviously grown up with millennial pop stars like Miley Cyrus, Mystery Rose sets herself apart with emo pop-punk twists worthy of Mitski or Soccer Mommy, complemented by Dan West’s spot-on arrangements. Mystery Rose—aka Zoe Rose –commands the kineticism of youth while realizing there are some lessons people never stop learning. “There are no new stories, but we can put modern twists on age-old problems,” says Rose.
Lou Tides bio
For this artist, loops have meaning far beyond music production. As she recalls,“I blamed myself for the violence I experienced. I was gaslit. So then the loop begins. The fracture has been made. I didn’t trust myself.” That looping carries over to “Free Will and Testament,” a cover of a Robert Wyatt song that feels at home here. In Tides’s arrangement, free will is represented by a number of lilting voices that grow louder, embodying the sense of overthinking.
LBT DPT bio
On LBR DPT’s self-titled debut, the indie pop collective celebrates the power of the moment. It is, after all, faith in the moment that inspired members to be open for experimentation, for shunning self-seriousness in favor of letting the music shape itself organically. Seven years ago, Texas singer-songwriter brothers Patrick and Nolan Wheeler disbanded their Americana project, Wheeler Brothers, in search of a new sound. They swapped their guitars for synthesizers and teamed up with producer Misha Hercules. The project grew to encompass both coasts and an ever-growing roster of contributing musicians. Dutch singer Alex Who lends rich, expressive vocals to the record, while D’Angelo Lacy (Moon Boots and Twin Shadow collaborator) adds his silky voice to “Spinning.” Drummer Kyle Crane (Daniel Lanois, Kurt Vile, Conor Oberst) brings rhythmic versatility to keep the energy high throughout. The total effect is an album that will leave no dancefloor empty—yet doesn’t sacrifice soul in the process.
The first LBR DPT’s single “Spinning,” is out today. The song’s upbeat crush of retro synths and soulful vocals celebrate its underlying message of living in the present. The song helps fuel a night on the dance floor, but it’s also a nod to the seven-year, thrillingly labyrinthine journey the collective took to make the album. “It embraces endless hope and opportunity. It was derived from being on the road rolling from town to town and tearing it up in places we’d never been or seen before. We felt unafraid of consequences of tomorrow and seemed to have all the time in the world,” Patrick Wheeler says. Featuring D’Angelo Lacy’s smooth vocals, “Spinning” is a champagne toast to years of adventure distilled into a moment.
That feeling imbues the rest of the album as well. “Ride” is a quickening pulse limned with intricately layered backing vocals. There’s a tinge of unrest to the song, the chorus lyric of “safe for another night” inviting in the mixed blessing of temporary respite. As Patrick says, “Ride is about playing with power dynamics and the switching of power and control. There is something empowering about being in control and also something soothing about being under control without choices to make.” The song incorporates perspectives of being at rock bottom, falling in love, and feeling freed from making decisions.
Written by Nolan Wheeler and frequent collaborator Graham Wilkinson, “What I Know” lives in a different kind of moment—one about choosing to persist during the hard times. “I forgot what it’s worth left to own, even the brightest of the days,” Nolan sings. “They say there’s a place in my brain that can keep me away from myself,” soon follows. Nolan’s vulnerable vocals rive the song, augmented beautifully by live strings. The uncluttered instrumentation lays bare the hope that forms the foundation of the song.
“The record is special because we started this process as two brothers for ourselves. Now we have many brothers and a few sisters too. We had gone through a band break up, divorce and then right into a global pandemic,” Patrick Wheeler says. Those struggles make it extra impressive that the collective emerged with an album as easy and fun as LBR DPT. It’s palpable that this record was made by people who love coming together to make music that brings people together.
Mike June bio
Mike June makes decidedly timely music, but he does far more than document an era of unease. He has mastered the precarious balance between despair and hope and rendered it melodic across five albums, including Poor Man’s Bible, released on Slothtrop in 2016.
“It’s discovering artists like Mike June what makes this all worthwhile; he can certainly write a song; and the theme throughout of the ‘working man of all colours and persuasions is being trampled on’ but his execution of those songs is second to none,” writes the Rocking Magpie music blog of Poor Man’s Bible. They add that June “certainly has his finger on the button in a way Bruce hasn’t had for 20 years or more.”
One year and one brutal election later, June is pushing that button hard. The results of that are clear in the three-songs that comprise June’s new single, Alright, out July 14 on Slothtrop. The single features the Raleigh, NC band The Backsliders, and also guest stars June’s wife, Jess Klein, on backing vocals.
Born in rural New York and raised in New Jersey, June also did a stint in Austin (where he released his first five records) before moving to North Carolina with his wife. Music has always been a big part of June’s life. “I started pretending to play music at around age 3, miming Kiss songs with the neighbors, and strumming on my Grandfather’s guitar while he sang Hank Williams’ songs. I got into my first bands in high school, and formed my first professional band, Wide Load Joad, in 1999 before going solo and forming Mike June & The Dirty Doves in 2001,” June remembers.
Over the years, June’s focus on the very real stories of very real people has remained intact. “His music is what my generation needs, and what older generations need to remember. He sings love songs about the human experience – sometimes his own,” writes William Harries Graham in The Austin Chronicle. “I consider him a storyteller of the revolution,” Graham adds.
The title track on June’s new single was written for June’s wife after the 2016 election. “‘I felt like we needed some reassurance in the house. It's easy to think that your problems are big when you're staring them right in the face, but in the big picture most people in the world struggle everyday, and that struggle is our common thread.” It’s a powerhouse ballad, fuzzy with electric guitar and propelled by insistent drums.
Alright also features a pitch-perfect cover of Lou Reed’s 1989 song “Busload of Faith.” “I think it's a perfect song for this time. I feel a deep connection to Lou Reed. We were both raised in the New York suburbs, English majors, raised on doo-wop and early rock and roll. I hope we did the song some justice,” says June. The song darkly lists all the things we can’t depend on, referencing concentration camps, abortion clinic protesters, and the fallibility of God. June delivers the verses with perfect grim realism that would do Reed proud.
“How Long” is driven by slow acoustic strumming, lap steel, and a bittersweet ache in June’s voice. According to June, “The song is a bit of sarcasm and I'm taking in joy in being able to witness the strange times we are living in. You can't go back in time, so you might as well enjoy the moment.”
Alright is out on Slothtrop on July 14, 2017 and will be available via major digital music sellers. For more information on Alright or Mike June, visit http://www.slothtrop.com or http://www.mikejune.com, or email email@example.com.
INDIE RAP-EDM ARTIST CALLS OUT PREDATORY MUSIC INDUSTRY ON NEW SINGLE “WASTED”
(LOS ANGELES, CA) The LA-based rapper-singer-dancer-activist Eriel Indigo just dropped “Wasted” on the heels of her standout singles “RENEGADES” and “Basics for Breakfast.”
Featuring EDM-inflected hip hop and provocative lyrics alternately sung and rapped, Indigo takes on the predatory side of the music business, calling it a “bitch of a circus full of serpents on the surface”. The song’s title plays on the idea of wasting talents as well as the mind-altering experience of trying to play the game. Indigo raises her voice into a girlish lilt, singing “Get intoxicated, you can play this game, bish.”
“Wasted” opens with minimal beats and simple piano chords, swiftly unfolding into a shadow puppet play of sonic textures. The winningest part of the song is Indigo’s seeming ability to channel her voice into a hundred personae a line. She pouts and preens, purrs and lures, then dishes it back with sass, all while moving between different flows of rap and vocal style.
Like her previous singles, “Wasted” shows Indigo playing a shapeshifter able to hide considered content within irresistible hooks and quick-change vocals. As a socially conscious artist, Indigo sees her work as an opportunity to educate as well as entertain. She also believes in giving her music visual presence, and so directs eye-catching, impactful videos for her music. Across her three singles, Indigo has already shown the ability to soak up a diverse array of influences, then spit them out into something dizzy, delicious, and completely original.
“Wasted” is available now on all major streaming platforms. Her debut full-length Angels & Aliens will be released in 2021.
City da King is Baltimore-Strong on Three Singles
BALTIMORE - “I love my city. I love my town. I'm striving to be great, and I'm not afraid to be myself,” says Baltimore singer-rapper City da King. City grew up rough, ousted by his mother and forced to sell drugs on the street starting at age 13. The next years brought devastating losses, leaving City with pain he shares easily and a truly empowering growth story.
“Baltimore builds you to be able to be strong and to be able to make it through life. I am a true product of Baltimore. I've been through the worst of the worst. I overcame it and still was able to obtain a psychology degree and continue to strive,” says City. His musical striving has paid off as well; he’s opened for Future, Jezzy, Rakim, Dru Hill, and more.
He documents the worst parts of Baltimore, the dangerous street life in his recent single “Murdermore.” He made the song shortly after leaving the band N.I.T. and realizing what freedom he now had as a solo artist. “’Murdermore' was the record that let me spread my wings. That song came out of a lot of pain, a lot of frustration, a lot of anger, a lot of hardships I'd been through. It was a raw record. It was something that came over me. It helped me release a lot of pent-up stuff,” says the artist. The song’s poetically harsh lyrics and layered tracks of singing and rapping help make it memorable, and Baltimore locals are quickly finding it relevant and anthemic.
City’s singing ability is one of his assets. “I have a singing background, so I can bring some harmonies and pretty dope melodies to records,” he says, explaining one facet of his versatility. “My versatility comes in my ability to be able to experiment and be creative with the music instead of being locked into one type of sound. It's not just about hardcore hip hop. There are touchy love records, some inspirational music, some downright you-in-the-mud-trying-to-get-out-of-the-mud-music,” he says.
He celebrates this versatility and originality in his song “One Me” from a project with the same name. With a sultry, melodic vibe, the song celebrates individuality, a pushback against the music industry’s attempt to force replication of sounds. As the artist says, “In a time when we see that the industry is copycattish where everyone wants to do what the other artists are doing .'One Me' is a testament to how we're all special. We're all individuals. We're all unique in our own selves.”
But City knows that maintaining authenticity and individuality can come at a price. “I went through a lot of scenarios that people would look down on and a lot of people would not be proud of. I am not proud of all my experience. But I am saying I am not running from the experiences that made me who I am. I'm grateful and blessed, and I wouldn't change what I went through because ultimately that made me who I am,” he explains.
He remembers the backlash when Kanye West was running for president, how quickly people said he’d lost his mind. The comments happened to hit City when he was thinking and writing about what it means to be real, especially in an industry that doesn’t value that. “We go through things that challenge us mentally. I felt like on that record people would think I was losing my mind. That was the inspiration. When I wrote the record, it was around the time Kanye was running for president. We all know the type of energy that he was getting, people saying he was losing his mind. I'm losing my mind and going ballistic because you never know who's real and authentic in this world, especially in the music industry,” City says of the track, which he compares to a soulful Rod Wave record.
“Ye Ye,” like “One Me” and “Murdermore” are selfies of a man who’s found the strength to talk about the hard, important things in life. But he does it with such dexterity that he switches lanes easily, moving from painful anthems about street life to the power of one to trying to stay grounded as a musician. He plans more singles, and there’s no doubt they’ll be as genuine and autobiographical as these.