SHR4C007R~002 Option 2: Electronic Press Kit
Task 1: Electronic Press Kit
Task 2: Supporting Commentary
Putting together a strong Electronic Press Kit (EPK) means clearly understanding who i am as an artist and what the readers of the EPK will be looking for. In this commentary, I will break down all the choices made when making my EPK as a House Producer and DJ. The aim was to showcase my sound, style, and ambitions in a way that reflects my place in the underground scene and helps me connect with promoters, labels, and listeners as I continue to grow.
The first thing I did when starting this project was find other artists in the space of electronic music and find their EPK’s to use for reference. This was so that I could have a better understanding of the common structure and content of typical Electronic producer EPK’s. I focused on artists within the same niche such as Chapter & Verse, Morgan Seatree and BK (Active Talent Agency, 2025). By analysing how these guys presented themselves in terms of language used and how they balanced personal narrative with their achievements, by doing this I was able to identify key elements that were transferable to my EPK. This research helped me decide what information was most important to include, such as influences, performance history, upcoming releases, and unique aspects of my sound. It also gave me insight into how to pitch myself honestly while still appearing confident and professional, which is especially important as an emerging artist trying to gain traction in a competitive scene.
When making my EPK , I knew that my target audience and the main people reading it would be local promoters, other artists, record labels and other industry professionals – individuals that could further my career through bookings and potential releases. I planned it to be my primary point for networking and distributing long form information about myself. With this in mind, I tried to make the EPK as professional and well structured as possible and reflect my current musical identity and ambition without misrepresenting the reality of my current position as an artist.
The main thing I sought out to get right was the content of my bio, since the bio takes up the biggest chunk of it and is what people will be looking for when reading it. So when planning what to write I made sure the heart of my bio intricately detailed my dedication to high-quality music production and sound design and how I am continuously crafting my own unique minimal sound through a multitude of influences. Creating this clear identity was crucial because authenticity and originality is valued a lot more than commercial recognition in this genre of music.
I made sure to use words and phrases that describe in detail my sound, such as “melodic fragments” and “warping basslines”, to not only affiliate myself with other artists in this genre but to also give an understanding of the feel and vibe of my music without having to even listen to it. In an industry where first impressions are almost always the most important, I felt as though it was necessary to create a vivid description of myself to stand out, without overselling myself.
It was also vital to include information on my network in the regional community and my own self-releases that are available on soundcloud. Doing this demonstrated my accessibility to the grassroots DJ community, who do not have to pay anything to be able to play my songs at venues. By talking about my involvement in Leeds, specifically at Distrikt, shows that I am actually active in the scene and community and demonstrates that I am only moving forwards with my career.
This also reflects a wider commercial strategy – start local, build a strong regional network, and grow outward. For up-and-coming electronic artists, word-of-mouth, local support, and co-signs from known community figures are often more valuable than paid ads or social media metrics. By emphasizing this trajectory in the EPK, I’m showing potential industry contacts that I understand and respect the culture I am operating in.
When writing the EPK, I wanted to come across as authentically as possible, I wanted it to balance ambition with humility. By including phrases like “while still early in his journey” to honestly reflect where I am at this point in time. I didn’t want to over exaggerate anything but I didn’t want to undersell myself either. Being transparent like this created a more likeable image rather than an overly polished unrealistic one. It was important to me to maintain my integrity through the EPK.
Nevertheless, I wanted to show that I’m driven and have a strong vision for where I’m headed. Mentioning my upcoming EP, my aspirations to perform across Europe, and my goal of releasing on respected underground labels was my way of sharing that long-term focus. Including these ambitions helps build a narrative that’s not just about where I’ve been, but where I’m going. It gives the EPK a sense of forward motion and invites industry professionals, promoters, and fans to be part of that journey.
One challenge I faced when putting together the EPK was finding the right balance between staying true to my artistic style and presenting myself in a way that appeals to the industry. Since my personal sound is a bit more experimental and darker side of minimal house, it is not necessarily the most accessible and/or mainstream sound so I had to make a decision whether to embrace that or tone it down for a broader appeal. By embracing my sound I’m hoping to come across more accessible to potential A&R people that read it.
One of the hardest parts of putting together my EPK was finding the right balance between staying true to my artistic style and presenting myself in a way that appeals to the industry. My music sits on the darker, more experimental end of minimal and deep house, with clear influences from speed garage. It’s not necessarily the most mainstream or instantly accessible sound, but I made a conscious decision to fully embrace that instead of toning it down for broader appeal.
Rather than trying to make my music fit a more commercial mold, I chose to frame its uniqueness as one of my biggest strengths. I referenced artists like Chris Stussy and Locklead—not to suggest I’m imitating them, but to show that I draw inspiration from producers who have found that balance between underground credibility and a wider audience. These comparisons give listeners and industry contacts a clearer sense of where my sound sits within the current scene, without compromising my own artistic identity.
At the same time, I made sure to highlight the things that do add commercial value to what I’m doing—like releasing music regularly, building momentum in the Leeds scene, and taking a consistent, professional approach to my growth. I might still be early in my career, but I want it to be clear that I’m serious about building something long-term and authentic, not just looking for quick exposure or short-lived attention.
Group work and evaluation:
In the WITCI seminars, we did multiple group exercises to work out what makes a strong bio for an EPK by looking at various bios talking about the key elements. We agreed that a good bio should be concise, engaging, and clearly reflect the artist’s identity and musical style. It should include relevant background, influences, achievements, and future goals while avoiding clichés or overused buzzwords. As a group, we found that tone was especially important—balancing professionalism with personality helped create a connection with the reader. This collaborative process gave me a better understanding of how to craft a bio that feels both authentic and impactful.
I also sent drafts of my epk to friends doing the same assignment to get their thoughts on it, what is good and what needs changing etc. One friend said that “the language you use does sell yourself at the same time it’s good stuff”. See Appendix 1.
Another friend also helped me out with one of original drafts, telling me how I could talk about my aspirations more. See Appendix 2.
Overall through the help of peers I was able to understand what was needed of me in the EPK. Through in-class discussions I was able to work out what separates a good EPK from a bad one.
Bibliography:
Active Talent Agency. (2024). BK | Bookings | Active Talent Agency. [online] Available at: http://activetalentagency.com/roster/bk/ [Accessed 14 May 2025].
Active Talent Agency. (2024). Chapter & Verse | Bookings | Active Talent Agency. [online] Available at: https://www.activetalentagency.com/roster/chapter-verse/ [Accessed 14 May 2025].
Active Talent Agency. (2025). Morgan Seatree | Bookings | Active Talent Agency. [online] Available at: https://www.activetalentagency.com/roster/morganseatree/ [Accessed 14 May 2025].
