Supporting Commentary
I created this EPK for the audience of potential customers as well as potential collaborators. The purpose is to attract people who are deciding whether to listen to my music or contact me, and to direct them to my platforms. The EPK could be used in places such as a professional website once I have set one up.
My EPK contains various attention-grabbing photos that give an impression my brand. The title photo shows my face, but I am also surrounded by electronic music equipment while holding a trumpet, which visually demonstrates my use of live and electronic techniques. Another photo shows a close-up of me playing a synthesiser, which further adds to an electronic aesthetic.
I designed the DeltaFey logo—comprised of the greek letter delta followed by an italics f—to invoke this aesthetic. It resembles a mathematical variable, ∆f, which could denote change in frequency. This alludes to the physics behind synthesis and music production. It uses Computer Modern typeface—which is used in LaTeX, a widespread typesetting program for mathematical expressions—to emphasise this resemblance. I use this font throughout the EPK for consistency, but I am unsure as to whether this was a good choice; it might benefit from a more readable font.
The colours used in the logo create a digital feeling. It is comprised of the primary colours cyan and magenta that mix where they overlap, creating blue. This forms a glitch effect. These colours are also recognisable as they form the transgender pride flag. I chose to allude to this due to the themes of gender and queer experiences prevalent in my music.
I think that there is room for improvement in the content of the EPK. Currently, the reviews and testimonials are a placeholder; in the future, I would like to obtain reviews that are more credible than YouTube comments and more relevant to the audience than an academic evaluation. The photos were also taken on my phone, and would ideally be replaced by a professional photoshoot. The skills section could be reworked: I included it to fit with the assignment checklist, but the format I used does not feel like an appropriate style. This section could therefore be reworked, or the skills explained in a different section.
I designed the EPK using Affinity Publisher to create a pdf. I did this because I wanted to have a versatile file rather than something that only exists in this Show post, which allows me to use it elsewhere. However, this decision had some limitations, such as having to link to YouTube rather than being able to embed audio or video.
Another point for improvement in this EPK is its relevance to the audience. It contains information that the intended audience might not need to see, such my qualifications. I included this because I wanted there to be a range of information and evidence of my skills, but more work is needed in tailoring this to its purpose. It would also help to develop my EPK’s connection with other aspects of marketing, such as social media, a mailing list, a website and professional contact. It would also be helpful, once an audience has grown, to use the EPK to direct people towards merch. I did not include these further connections because I do not yet have them fully set up. Ideally, they would be well developed, which would allow an EPK to be integrated within my marketing strategy.
Market research
This EPK is targeted towards the community surrounding the genre of hyperpop. This is associated with internet culture, particularly online communities that are populated by transgender people—in fact, the themes common in hyperpop are strongly linked to transgender experiences (Marsh, 2020). This is the audience I intend to appeal to.
While creating this EPK, I explored the marketing of artists within this community. The first artist I considered was FEM&M, a hyperpop/breakbeat artist who promotes herself on TikTok and Instagram. She has a professional website that presents music as well as merchandise, which differs from the structure of an EPK, lacking a bio. This website is for an audience who already know about her, and to direct their attention towards further commitment to what she offers. It was helpful for me to consider myself as a consumer; I am part of FEM&M’s audience, therefore her marketing has been effective towards me. My interest in FEM&M began upon seeing her posts on Instagram, which appealed to me due to their relatability and references to queer culture. However, I only began listening to her music after it was recommended by a friend. This highlights the importance of brand advocacy in growing an audience. This is relevant to my EPK because it shows that the community I am marketing towards might not be drawn in exclusively by an EPK, so it is important to connect the EPK with other aspects of my marketing strategy. This is why I included links to my social media accounts.
Another artist I explored was Sophie Powers, a hyperpop musician. Her website resembles an EPK, with a very powerful bio, photos, and links to socials, streaming and merch. A notable aspect of the website is its consistent, developed and well-executed aesthetic and design. It contains pixel art and gifs that are reminiscent of websites from the 2000s, and references to early internet culture. This is relevant to the genre as hyperpop is popular among the communities referenced in the website, such as anime and early internet nostalgia (Johnson, 2020). This highlights the importance of creating a consistent brand image that appeals to the community. I have applied this to my EPK by carefully considering the use of colours, shapes, fonts and images to stay consistent with my brand, such as how I have used the colours of the transgender flag.
This market research was an important part of understanding the purpose of my EPK and developing its content. I intend to do further market research in more depth in the future so that I can develop a more effective marketing strategy.
Financial and legal elements
So far, there have been no direct costs in making this EPK; the graphic design and photography were done myself. However, I do consider this EPK to be a prototype, and there will be costs in developing it further. One important financial implication comes from how I will integrate it with a website. This will require paying for a domain name; a domain such as deltafey.com would cost roughly £10 per year (name.com, 2025). A more significant cost could come from creating the website. I have not yet begun this process, and there is a considerable range in costs depending on how much of the work I do myself. I would like to build the website myself, but the time and maintenance required might not be reasonable, so I will need to figure out a budget to decide on a balance.
It is also worth considering the costs of trademarking my brand, such as the name (DeltaFey) and logo. I have not trademarked anything yet because none of my brand is final. According to HM Government (2025), the cost of a trademark is at least £170. This is not particularly affordable at this stage, but is something to consider later on as it is important to legally protect my brand’s identity.
It is also important to recognise how an EPK and its related marketing can drive revenue. If it serves its purpose for the intended audience, it will direct potential customers towards revenue sources. This includes streaming, which the EPK points towards by naming my Spotify profile. However, when evaluating the use of the EPK to drive revenue, I realised that the potential costs will require more than streaming to cover. If the EPK is used to grow an audience, it could then also be used to direct this audience towards a merch store, which could be a part of covering these costs. More revenue sources would allow a greater budget for a better developed EPK, so this is becoming part of my long-term plan.
Group Work
I attended the seminars dedicated to group work and typed notes on my laptop. The notes I took were brief, but served as reminders for everything discussed. However, it might have been beneficial to take some more detailed notes so that I would not be relying on memory. To evidence the group work, here is an example of some notes taken in a session:
Before discussing with a group, I was very unsure of how to start creating an EPK. During discussions, we brought forward examples of other artists’ EPKs to explore ideas. This was when I began to develop an impression of what an EPK should look like. We discussed how the purpose of an EPK might affect what should be included; for example, we considered the information that would be appropriate on the front page of a website. We also discussed our potential options for content, which was important because some content (reviews, photos etc.) is limited as we are just beginning to build our careers.
In later group work, we presented our work-in-progress EPKs, which was a very helpful session because it developed a sense of coherency in how to continue. At that point, I had written a draft of my EPK’s content in the form of notes but had not designed it graphically. Seeing other people’s EPKs made me realise the importance of design in their function, as their aesthetic made them more interesting to look at and read. I also received feedback on what I had written for my EPK. It was suggested that I could include evidence for the claims I make in my bio, such as the claim that I blend live and electronic sounds in inventive ways, which I have implemented by linking to examples of my music alongside explanations of why I have given these songs as examples.
Overall, group work was an essential aspect of the process of creating an EPK. It helped with developing ideas and gaining clarity. Despite flaws remaining in my EPK, the group work helped to remove potential flaws and form a more useful result that I could have otherwise. Moving forward, I think it would be beneficial to continue refining my EPK and continue evaluating my marketing in group discussions. Being a student at a conservatoire surrounds me with people with similar goals, so there are plenty of opportunities to discuss with others how to develop my EPK further.
Bibliography
FEM&M (2025) femnmofficial [Instagram]. https://www.instagram.com/femnmofficial/ [Accessed 14 May 2025].
FEM&M (2025) FEM&M. https://femnmofficial.com [Accessed 14 May 2025].
HM Government (2025) Register a trade mark. https://www.gov.uk/how-to-register-a-trade-mark [Accessed 15 May 2025].
Johnson, N. (2020) How hyperpop gives trans artists a voice. Ringtone Mag. 13 August. https://www.ringtonemag.com/articles/how-hyperpop-gives-trans-artists-a-voice [Accessed 14 May 2025]
Marsh, T. (2020) Exploring the Trans Roots of Hyperpop. ORANGE Magazine. 15 October. https://burntxorange.com/39482/pop-culture/2020-10-15-exploring-the-trans-roots-of-hyperpop/ [Accessed 14 May 2025].
name.com (2025) Domain name search for deltafey.com | name.com. https://www.name.com/domain/search/deltafey.com [Accessed 14 May 2025].
Powers, S. (2025) SOPHIE POWERS | OFFICIAL WEBSITE. https://www.sophiepowers.com [Accessed 14 May 2025].
100 gecs (2025) 100 gecs | official website. https://www.100gecs.com [Accessed 14 May 2025].
