Artist Bios and Press
Artist Bios and Press
In addition to my editorial work, I have also had the privilege of writing professional bios and press releases for a growing handful of notable bands and musicians. If you are interested in recruiting me to help amplify your next project, send me an email!
Here are a few of my favorite pieces:
Cindy Cane - Spotify Bio
Coalescing from a swirl of mist over rain-slicked back alleys, Cindy Cane stalks the fringes of rational consciousness, an ominous shade rendered fleetingly corporeal on the precipice of sanity. Lurking like an underground phantom of the opera occupying the intersection of Bram Stoker and Andrew Lloyd Webber, Cindy Cane conjures an alluring amalgamation of heart-stopping terror and dramatic theatricality burning with the irresistible temptation of forbidden pleasures, to craft a provocative manifestation of one's darkest fears and deepest desires.
Surrender to the brooding darkwave compositions of this most notorious denizen of the night for a full-bodied exorcism of unparalleled stimulation. Flirting with eternal damnation over waves of swelling synth and throbbing electronic percussion, Cindy Cane breeds an atmosphere of nervous paranoia shot through with an abundance of adrenaline to trigger an involuntary dance-or-die response, imbuing their live performance with a celebratory fatalism steeped in unhinged hedonism that runneth over at the cusp of apocalypse.
Cindy Cane's identity is born from a storm of individual passions whipped into a frenzy of orgiastic collaboration, heaving with a tangible physicality that revels in consensual dalliances with delightful depravity. Mastermind Tom Lescovich orchestrates this sinister coven of otherworldly talent, leveraging each of the players' wide-ranging influences to bring a remarkable level of depth and nuance to Cindy Cane's potent sonic spellcasting, wild spirits harnessed and honed into a demonic chorus rising like the flames of hell to lick upon the altar of Aphrodite.
Embrace the darkness. Celebrate the sinful. Cindy Cane has come for your soul.
Let them in.
Gymshorts - Spotify Bio
Gymshorts is from Rhode lsland and like the band's home state frontwoman Sarah Greenwell is a petite powerhouse that marches to the beat of her own drum.
Endearingly rebellious, fiercely independent, and hellbent on causing a commotion, Greenwell embodies the kind of rambunctious unpredictability that has personified some of pop culture's most legendary troublemakers; a little bit Bart Simpson, a hint of Kevin McCallister, and a dash of Dennis The Menace form the inspirational foundation of Gymshorts' particular brand of punk n rol, smoked to perfection in the back of Jeff Spicoli's van. Gymshorts are a sarcastic grin and a pair of bloodsh ot eyes behind pitch-black Wayfarers in the back row of class, a best friend and a bad influence all rolled into one.
Their sound is ragged and raw and immediately magnetic, rough and tumble with the kind of lived-in authenticity of a scuffed-up pair of skate shoes. A sturdy platform for the band's unabashedly unique identity that is equal parts bratty and wise, tightly wound and poised to launch in nearly any direction at a moment's notice.
As buoyant ambassadors of plucky stick-it-to-the-man attitude, Gymshorts never fail to leave crowds sweaty and satisfied in the aftermath of a ferocious blitzkrieg bop, decimating eardrums in a whirlwind of maximum volume sonic debauchery with an enthusiastic heart of gold.
Shanghai Baby - Press Bio
A pivotal persona in the garage rock movement in Spain and beyond, Ade Martin embraces a fresh identity with her latest project, Shanghai Baby.
Martin cut her teeth touring the world in lo-fi indie rock group, Hinds, going from playing divey bars to sold out stadiums. A student of music from a very young age, Martin began pursuing an interest in production during the lockdown era, embarking on a solo journey of discovery that ultimately blossomed into Shanghai Baby. Operating outside the collaborative nature of a band allowed Martin to focus solely on the types of sentiments and sounds that have a more personal meaning and an outlet for undiluted individuality.
Shanghai Baby expertly balances indie’s burgeoning wooliness with intensely swirling passions borne from an immersion into the grungier side of alternative rock. Guitars churn with a raw angularity amidst a turbulence of percussion and Martin’s trademark basslines to form a deluge of sound that, despite the densely layered sonic weight, maintains an aura of brilliant incandescence that serves as the prevailing spirit of Shanghai Baby’s unique temperament.
Martin crafts each song like an analog vignette flickering from the lens of a vintage 8mm projector — meaningful moments splashed across the screen to illuminate a dark room with memories and regrets preserved inside the saturated and grainy confines of a celluloid archive. In the reflective nature of the songwriting, Shanghai Baby embodies a persistent sensation of progress supported by a sturdy framework of plainspoken prose like pages of a diary revisited as a reminder of how far one has come on a lifelong pilgrimage that never truly ends.
Less DIY and markedly more energetic than its predecessor, the upcoming releases from Shanghai Baby shine with a vibrant presentation and an undeniable confidence that showcases Martin’s inherent abilities as a triple-threat songwriter, composer, and producer – setting the stage for an expanded spectrum of uncharted musical territory waiting to be conquered, and the space to further develop these newly mastered skills and latent talents.
Slaughterhouse - “Halloween” Digital EP Press Release for Suicide Squeeze Records
A tale of domestic terror conjured from the depths of suburbia, Halloween represents a high-water mark of cinematic horror that has inspired and terrified ever since Michael Myers first stalked across the screen in John Capenter’s 1978 original film. Perhaps one of Halloween’s most enduring aspects is the adaptability of its narrative framework to wear society’s deepest fears like a mask, concealing the face of pure evil beneath a rubbery visage that is at once familiar and unsettlingly alien.
No strangers to the darkness lurking on the edge of town, Los Angeles’ Slaughterhouse takes a lean, muscular approach to the shadowy attitudes of post-punk, dismantling the style’s baroque tendencies down to its angular skeletal framework. The band’s straight-faced debut LP, Fun Factory, enacted an uncompromising scorched-earth policy with a tracklist fully loaded with incendiary guitars and whip-taut vocals propelled with impurity by machine-gun percussion as pitch-back basslines blotted out the sun like billowing clouds of acrid smoke.
On “Halloween” Slaughterhouse deliver their own take on the Michael Myers mythos by transmuting the film’s timeless legacy of fear with their own unique brand of high-powered vitality. Reminiscent of Carpenter’s iconic riff without recycling or sampling a single note, “Halloween” moves at a breakneck pace as chiming guitars flash like cold steel to set the scene for an absolute bloodbath of over-the-top sonic mayhem. Delivered at a militant cadence, Slaughterhouse power through the familiar story with gleeful abandon, swapping Myers shuffling gait for a 100-mile-per-hour cataclysmic hellride to absolute damnation with no seatbelts and no brakes. The result is tremendously thrilling, shot through with electric adrenaline and glistening with sweat, breathless and wide-eyed as the track recedes ominously into the shadows as quickly as it materialized.
Paired with a remix that takes the track and runs it through a meat-grinder of sound, “Halloween” becomes a homunculus of electronic terror like a hyperglitched video arcade nightmare awash in pixelated static and erratic patterns blasting from the cold radiation of a fractured cathode ray tube. If the original track is Slaughterhouse’s big-screen adaptation, the Not A Friend Remix is the cursed found-footage VHS bootleg splattered with blood and saturated with forbidden evil. A Necronomicon for the digital age.
“Halloween” is unleashed as the latest entry in Suicide Squeeze’s Pinks & Purples Digital Singles Series on October 18th , joined by the “Halloween [Not A Friend Remix]” to complete the EP on October 28th .
Stream “Halloween” on Spotify and follow Slaughterhouse on Instagram.
Some Days Are Darker - Press/Spotify Bio
Hailing from the sunbaked expanse of the southwestern desert, Some Days Are Darker marries the umbral themes of gothic romance with the perilous tension of classic noir cinema, rendered in high-definition like razor sharp shadows against the incendiary heat of burning passions whose very existence gives meaning to the contrasting, all-consuming blackness.
The creative progeny of former metalcore guitarist turned singer-songwriter Lear Mason, Some Days Are Darker is a showcase for powerful, emotive lyricism that dredges the deepest recesses of the self to bring forth expressions of love and lust and longing that slumber Lovecraftian beneath the surface before breaking with tempestuous fury. Mason's compositions draw comparisons with moody and muscular alternative rock icons such as Depeche Mode, Placebo, and Black Rebel Motorcycle Club but subverts those acts' stadium sized bombast in favor of an intoxicating intimacy more closely aligned with the exoticism of Jozef van Wissem's contributions to the score for Jim Jarmush's heady slow-burner Only Lovers Left Alive. The result is a form of smoldering voyeurism that draws the listener in close but never breaks the fourth wall, keeping the romantic tensions deliciously just out of reach like phantoms flickering upon the silver screen.
With vocal stylings that undulate and twist like tendrils of smoke from the tip of a cigarette balanced precipitously on the venomous lips of a femme fatale, Some Days Are Darker strike the perfect balance between dramatic theatricality and plainspoken honesty to conceive an air of irrefutable authenticity. Textural arrangements employ layered instrumentation that leaves plenty of room between the notes for suggestive glances cast furtively across a crowded room, accented with a measured amount of reverb and structured within rhythmic frameworks that call back to the earliest primordial incarnations of rock n roll. Familiar patterns begin to emerge in the music, threading the needle between life and death in a celebration of the moments ephemeral that draw together disparate souls as one, burning bright amidst eternity as a beacon of love's inextinguishable brilliance.
Some Days Are Darker's seemingly all-consuming obsession with the finality of death transcends memento mori and is in actuality an unmitigated lust for life, amplified by the realization that our time on this plane and with the ones we love is ultimately finite. The pleasures and pain of our existence should be celebrated at every opportunity. While we may desire to bask forever in the light, we must confront and embrace the reality that we are only human and some of our days are darker.
The self-titled debut LP from Some Days Are Darker is available to stream on Spotify and on limited vinyl.