...Erik reminisces that he most likely began his musical journey when his mother went into labor with him on a dance floor at a K.S.J.O. radio staff party (where his father served as the station's general manager).

"It was not long thereafter, around the age of four, that I began playing some real cooking percussive instruments, literally, as I would set up on the family's backyard table with various pots and pans, coffee containers, and whatever else I could find that made a distinctive sound really, and I would just kind of bash around with that in solitude, as in retrospect it would have probably required an extremely benevolent audience, unless the audience were to have been held completely captive, in the truest sense of the phrase.... I was fortunate, I had an understanding family and sympathetic neighbors."

Since that time, Erik went on to study classical percussion with the author of the seminal work, "Portraits In Rhythm" and former principle percussionist with the San Francisco Symphony, Anthony J. Cirone, as well as the world and avant-garde percussion legend Lou Harrison, piano with Joan Stubbe, and voice with Derek Graydon and Linda Kerns.

Erik has performed in concert halls and musical venues around the world, from Stanford University to Sorbonne, from Cafe Rodeo - Beverly Hills to Club Hollywood - Milan Italy.

His latest release ONE WINTER epitomizes the sonorous essence of the solstice season and is now available for purchase:

...is an internationally acclaimed writer, actor, vocalist and multi-instrumentalist musician/composer.

As a diverse and facile performer of theater and music, Erik has appeared in major productions on stage and screen, in both the United States and Europe.

A graduate of UCLA in the departments of Theater Arts and Communication Studies; he was a long standing member with the prestigious West Coast Ensemble.

Globally, he has worked commercially for Fanta Orange, Lee Jeans, Versace, Zegna, and The California Milk Advisory Campaign, to name but a few.

He holds a Black Belt in Shotokan Karate.

...albeit with some degree of controversy attached, when I was cast in the lead role for my grade school's first grade production of "The Little Red Hen."

Sure, prior to that, there were the more typical puppet shows as youth are known to perform, but things really took off when the girl that was actually supposed to play the coveted lead role of The Little Red Hen, she ultimately, for lack of a better term, chickened out, withdrew, so I was thrust into the leading role! By default, but still.

In the grander scheme of things, acting and writing, this was something that came about as more of a calling really, part of an evolutionary process, one I was guided toward by those who proceeded and mentored me.

The interpretive performance of theatrical literature, this was a natural extension leading toward a deeper delving involvement with the synthesis of creative communicative forms.

Outside of very specific environments, it could be said that I'm not generally one for discussing acting technique, or the various "methods" and how one goes about it, as this removes some of the mystery, breaks down the fourth wall, and as such, I will say that I think all arts are kindred to a large degree, acting, being the most ephemeral of the fine arts.

Although I think the primary requirement for an actor is that they be born with the necessary tendencies and aptitudes, I have to say retrospectively, this was another area where I was fortunate to have had great developers, those who were readily considered some of the very best in the world at their craft; people that encouraged me forward, unwaveringly.

I studied acting and directing for stage and film with Don Richardson for four years, and for that privilege, I will always be grateful.

The question I am asked -- perhaps unavoidably asked most frequently is, what types of roles interest me the most? I do take a certain pride in being able to make most any part an interesting, memorable, meaningful one, but if I had to say, I do like playing against type, more the unexpected. The "saucy" characters.

In a broader scope, for the past few years, I have focused primarily on generating the written material itself.

From having worked alongside such diverse talents as John Hurt, Jeff Bridges, and Jack Black, and from having been on "both sides of the desk," in both North America and Europe, the qualities I look for in a performing artist would include, a resonant inner life, a certain soulful sparkle and coinciding verve, an ability to truly light-it-up when need be ... to emote and react in a convincing way; A deep running well -- one that when called upon, can reside far from the mundane and the efficient.