We Speak Music
Acclaimed Belgium post-punk band DISORIENTATIONS on UK tour this week!
New album ‘Lost Today’ out now
Disorientations is a post-punk band from Antwerp, Belgium, composed of lifelong friends Lukas Van Camp on bass, Tomas Serrien on drums and Niels Elsermans on vocals and guitar. The moniker came to exist while jamming endlessly as a way to process shared loss experiences.
Combining an old 80’s vibe with more alternative punk and noise music, their music became characterized by an intense and contemporary cold-blooded sound that comes to life during their intense and noisy performances.
Their debut album ‘Memory Lanes’ was released on [PIAS] Recordings in 2022, receiving critical acclaim, in and outside the underground scene. Their second album ‘Lost Today’ (out now) combines a harsh emotional sound, raw rhythmic power and captivating vocals with in-depth songwriting. ‘Lost Today’ is a collection of introspective and haunting songs. It embodies the compelling moods and emotions of the members of the band.
Disorientations’ music is a translation of contradictions in life. They sing about love & loss, about how to deal with the vast emptiness that manifests itself when you lose something fragile.
‘Lost Today’ is packed to the rafters with dark, intense, and electrifying songs. They combine sharp bursts of noise rock, the melancholic atmosphere of post-punk and an airy wall of sound reminiscent of the early 90s shoegaze vibe to something fresh, exciting, and urgent.
The band will venture over to the UK for shows this summer as follows:
Disorientations 2024 UK Tour:
08.08 @ Broadcast, Glasgow
09.08 @ The New Aldelphi Club, Hull
10.08 @ Quarry (Frogfest), Liverpool

We Speak Music
Col Darcy Unveils New Single ‘Pay Up’
Col Darcy’s ‘Pay Up’ arrives with the calm authority of an artist who has already learned that longevity is its own form of victory. The second single from ‘Redemption’, his forthcoming album, is a composed piece of independent hip-hop that places persistence, ambition and personal conviction at its centre. Rather than presenting success as spectacle, Darcy approaches it as something accumulated slowly, through experience, discipline and faith in one’s own direction.
That sense of earned perspective has been central to Darcy’s work from the beginning. As Caper, he drew national attention with ‘How Would You Like To Be Me?’, a politically charged anti-racism song whose influence eventually extended into cinema. Alongside ‘Opportunity’, the track appeared in Netflix’s A Second Chance: Rivals!, bringing Darcy’s writing to an audience well beyond the usual confines of Australian hip-hop. Yet his subsequent career has remained grounded in independence, with the acclaimed ‘Beautiful Hopeless’ further establishing his commitment to thoughtful writing and considered craft.
‘Pay Up’ continues that trajectory while revealing an artist interested in the emotional economics of perseverance. Darcy writes from the perspective of someone who has experienced the slow rewards of staying the course. The lyrics use sharp wordplay and layered metaphor to turn a familiar idea into something more personal. His delivery is particularly effective for its restraint. There is no need to overstate the message when the voice behind it sounds as though it has lived through the argument already.
The song also reflects the wider concerns of ‘Redemption’, a record shaped by travel, fatherhood, gratitude and renewed self-awareness. Much of the album was recorded in Bali, and the island’s atmosphere reportedly helped cultivate its more contemplative dimensions. That background lends ‘Pay Up’ an intriguing duality. It is a song about ambition, but not restless ambition. Its confidence feels less like hunger for external validation and more like an acceptance that the journey itself has meaning.
What emerges is a track that understands hip-hop as both music and testimony. Darcy’s influences, from Tupac Shakur and Eminem to Kendrick Lamar, belong to a lineage in which personal narrative can become social observation and self-examination can become communal language. ‘Pay Up’ honours that tradition while remaining contemporary in its presentation. As a statement of intent for ‘Redemption’, it suggests an artist who has found greater clarity without sacrificing his edge, and who understands that the most durable kind of success is the kind you build yourself.
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