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COPYWRITING

Copywriting is getting across the perfect message, with the perfect words. Whether it's a press release or an in-depth artist biography, Flow & Hustle can shape your image with a well-written feature that strategically delivers how you want to be seen.

Tkay Madiza - Artist Biography for Dew Process

Armed with just a pair of towering platform boots, an ability to write contagious club anthems to suit her lightning-fast emcee flow, and an undeniably soulful voice, Tkay Maidza has become one of the most buzzed about young artists in Australia in 2014.

At only eighteen years old, Tkay was not too long ago playfully rapping along with Youtube videos after attending classes at Uni and couldn’t imagine the effect of uploading her first startling single ‘Handle My Ego’ off-handedly to triple j Unearthed. Within hours the track – a mix of tongue-in-cheek verses, delivered with quick-fire-feeling across a backing of thundering dubstep – was shared thousands of times...not bad for someone who had been rapping for eighteen months and singing for less than!

In the year that has followed, she’s toured the country, played sell-out club shows. Yet seemingly unfazed by the fuss, Tkay is focused on crafting and refining her unique music and determined to carve her own path.

Like many young musicians, Tkay’s first forays into music were playful – jamming with friends, stealing time in her dad’s studio, recording sketches of songs on her iPhone and scouring the Internet for new tracks. Born in Zimbabwe and now living in Adelaide, she credits her musical family for influencing her to take her song-writing talent seriously, inheriting her drummer and guitarist father’s rhythm. With her mother’s encouragement has hit pause on her studies to focus on her live shows, touring and hone her astoundingly self-taught skills.

Influenced as much by sing-along-radio-soul and underground electronic music Tkay credits a wide array of artists that have helped shape her style, from glitch-hop to pop and back again. With an ear for both soaring melodies and dark bass thumps her remarkable rap flow sits comfortably across breakneck tempos, shifting drum patterns, chrome-plated synths and bursts of low end - and with a vocal range as impressive it is as angelic— Tkay provides a perfect foil for the dark, futuristic R&B production.

After the success of her first single ‘Handle My Ego’ with the churning dubstep producer Badcop, Tkay was asked to jump on a collaborative single ‘Arm Up’ with Mad Decent’s only Australian producers Swick and Lewis Cancut and her deft-tongue tirade shines against the heaving siren samples and drum loops. Back with Badcop for her next single, ‘Brontosaurus’ the Jurassic-sized dancehall jam saw Tkay craft more of her now-signature contagious choruses.

Her latest track ‘U-Huh’ with her tour DJ Elk shows an incredibly fierce and fearless young woman, her lighting-fast flow and clever wordplay sparks with an insatiable hook that urges you to dance.

One thing’s for sure with Tkay Maidza, whether it’s hearing her spitting spirited and self-assured bars over a chaotic dance-floor enticing track, or signing to Dew Process and a breakout set at Splendour in the Grass, a showcase at Brisbane’s Big Sound, Queenscliff Music Festival and a spot on the Listen Out line-up, as well as acclaimed club tour with Nina Las Vegas – this is looking to set be just the beginning.


Oisima  - 'Nicaragua Nights' Album Biography for Create/Control

With the sound of a needle skipping across a dusty ‘45 and the sting of sunlight on sandy skin, multi-instrumentalist and producer Oisima has crafted an intoxicating and exotic sonic vacation in his debut album “Nicaragua Nights”.

Eastern-inspired melodies, honeyed vocals, improvised and experimental jazz and a haunting horns section are just some of the rich layers of paint and rhythms that have coloured Oisima’s music since his distinctive collection of independently-released EPs and semi-regular mix series ‘Jewels of Thought’. Part anthropologist, part crate digger, the Adelaide-based artist was self-educated through scouring record shops for hip-hop records and tapes. Collecting Latin, Afro-beat, blues and jazz vinyl, Oisima found himself unexpectedly drawn to the strikingly vivid sleeve covers. Drawing on instrumental beats and reimagined house, flirting with dub and frequently led by his searching, jazz background, “Nicaragua Nights” is a destination of experimental new, and authentically old.

While much of the album was planned and prepared for while Oisima travelled across Australia for an unrelenting schedule of tours, DJ spots and festival appearances as he captured fleeting moments in front of his Macbook on planes, the composition of “Nicaragua Nights” took place mostly in a beach shack ‘down south’. Leaving a personal stamp across each track is all the artists, friends and guest musicians that visited during the writing retreat – even the smallest sample of keys shaking, a drum beat and doors slamming have been twisted and embedded with the texture of the album and Oisima’s own vocals have been chopped and tuned as a sample with delicate precision. The album features frequent collaborators; composer and multi instrumentalist Adam Page soulful Sydney singer Annabel Weston, Perth producer and vocalist Mei Saraswati and Texan beat-boxers and emcees Danny Watts and Sam-All.

“Nicaragua Nights”, like it's inspired Central American counterpart, is a land of lakes and volcanoes; deep bursts of low end met shimmering synths, a nation of sandy cove beaches, a riot of percussion, passion, poetry and revolution. ‘Indios (In The Beginning)’ submerses a listener into the LP with a hundred kaleidoscopic wind chimes; a soothing drum beat flickering with melody.  Grover’s Lament’ while densely layered with drum rhythms the underlying saxophone sings through, while chopped vocals call-and-respond to the smoky sounds. ‘Makes Me Feel Alright’ and Everything About Her’ featuring the velvet vocals of Annabel Weston uses her voice like a paintbox, muddling together vivid moments and letting the accumulated emotion wash throughout the song to a soaring crescendo. Featuring emcees Danny Watts and Sam-All ‘Missin' You Now’ creates an authentic boom-bap sound as though sourced from a tropical island. Slow burning and seductive, album closer ‘Take a Breath’ a tingling and dark drop that lures a listen from sandy beaches to the dance floor.


Eves the Behavior - Artist Biography for Dew Process

EVES THE BEHAVIOR is certainly no wallflower. With a hint of mystery and an allure of hopefulness hidden behind a symmetrical hair-do, the twenty-year old Hannah Karydas is part ingénue, part heroine and a wholly genuine artist. After her break-out singles ‘Heavy’ and Zen’ took over the airwaves and internet alike her musical pieces have evolved from what she called ‘experiments’ to thought-provoking character studies told in a sensual and heady vocal range, set to intricately textured melodies and silky-smooth beats.

“Most of my lyrics are like behavioural studies,” she says. “I like to write about my observations of others that I guess are really just mirroring observations of things I do myself.”

Few young musicians have quite the steady vision and kaleidoscopic ambition in which EVES THE BEHAVIOR sets her sights on – and an unusual sight it is - the Brisbane singer, songwriter and producer has synesthesia. A condition that elicits an experience of mixed senses – and in Hannah’s case, certain elements trigger and become colours in her mind.

As a child I used to notice my friend’s name, Jordan, was orange,” Hannah recounts, but her vivid stimulus also reacts to music. “Listening to “Bound 2” by Kanye West means that the sampled backup singing girls “bound to fall in love” are very golden yellow. “Ah huh honey” is frosty pink. When Kanye starts the song turns rich deep red. “I know you’re tired of loving” sample is a cinnamon colour.”

This rare sense affects and influences her own music - allowing Hannah to figuratively paint her music. From matching tones to contrasting colours her songs capture the shades and hues she see’s with each beat. “In my head my single ‘Zen’ is very orange/dirty gold-flecked with a dark maroon.”

But Hannah ensures that are songs aren’t just a spectrum of bright colour. She is particularly interested in drawing out the shadow and darkness within her music.

My ambition as an artist - my obsession - is writing about this idea that we are all half as bad as we are good. This idea that maybe we are all one inch away from being that person on the news we’ve so quickly said we’ll never be. I’m an advocate for boredom and frustration and even for melancholy and sadness, and feeling okay about it.  My favourite author Alain de Botton sums it up perfectly: “people only get really interesting when they start to rattle the bars of their cages”.

Growing up in far North Queensland, Hannah travelled the world through books and her parent’s record collection before she was old enough to journey overseas’ herself. Instilling in her an appreciation of words and ultimately lyrics, these inward-adventures add a layer of poetic, literate meaning to her songs that resonate with any listener.

As influenced by Internet-hyper-pop as she is lyrical eloquence, Hannah covers the vast musical territory that blurs the line between pop and experimentalism that has quickly won her listeners from around the world – from folk fans that are drawn to her curious voice and clever lyricism, to electronic music enthusiasts that are drawn to her textured and deftly spun samples. After a stunning showcase at Big Sound earlier this year and a forthcoming performance at Laneway Festival 2015 - the future is looking as bright for EVES THE BEHAVIOR.