We Speak Music
Kaya Hoax unleashes ‘Hot Girls With ADD’
Listening to Montreal based musician Kaya Hoax, you’ll find yourself nodding your head with a high energy blend of mischief and passive indignation. Both urgent and celebratory, her music lives somewhere between hip hop and experimental pop, drawing inspiration from UK grime, dancehall and punk.
Over a clutter of hypnotic percussions, raw synth leads and rumbling 808s, Kaya Hoax spits verses that oscillate between fierce proclamations of independence and glimpses of utter vulnerability.
After a handful of remarkable shows around Quebec, including an incendiary set during POP Montreal (mentioned by CULT magazine as one of the festival’s top performances), Kaya Hoax is set to release her first EP “Baby Gear” in May 2024. With hyperactive hooks, infectious bass lines and earworm melodies, she presents a distinctive vision of digital bangers for irreverent femme vibes.
The next single to be unveiled from “Baby Gear” is “Hot Girls with ADD”. On this imposing banger, Kaya Hoax teams up with Magi Merlin, trading bratty verses that boast and shrug like the inner dialog of a teenage psyche. With menacing synths and a dancehall-inspired groove created alongside producer Loxley, the track casts a sonic vision that feels both urgent and celebratory. “Hot Girls with ADD” is about conserving a childlike spirit on the grind, imagining oneself as an exhausted future mother, and ultimately about just wanting to get down and shake it off after a long day’s work.
New Kaya Hoax single “Hot Girls with ADD” is out April 23rd.
Debut Kaya Hoax RP “Baby Gear” to be released May 17th.
In “You Never Do Shit,” Brooklyn’s Dead Tooth deliver a snarling, urgent post-punk single that distills their barbed energy into under four minutes of sharp-tongued wit and scuffed-up sonics. It’s a track that bristles with disdain—Zach Ellis’ vocal delivery is acidic, at times theatrical, and often more spoken than sung. There’s a punk rock immediacy here, but with the knowing wink of someone who’s watched the scene curdle and still wants to dance through the ashes.
The song began its life in a different medium—written for a fictional band on City on Fire—but the real-life iteration carries more weight. There’s a palpable satisfaction in Ellis’ decision to reclaim it, and that freedom seeps into every detail: the unkempt rhythm section, the jarring saxophone lines from John Stanesco, and the deliberate looseness that characterizes its structure.
Dead Tooth are at once participants and commentators in the culture they inhabit. Their songs are alive with noise, but also with intent—tracking the psychic hangover of nightlife, subcultural collapse, and underground scenes that burn bright and disappear too soon. Ellis’ lyrical observations land like tossed-off critiques, but underneath the smirk is something deeper, almost desperate: a desire for connection, even through chaos.
With their debut album looming, “You Never Do Shit” feels like a thesis statement. Not just of sound, but of ethos: reject slickness, embrace noise, tell the truth—even if it’s ugly. In a year when punk has mostly whispered or wandered, Dead Tooth has chosen to scream.
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