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.

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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