We Speak Music
Kingdom Kome “Crush Grapes” in new video / single
Prolific emcee / Lo-Life Kingdom Kome has dropped a new single with accompanying video this morning. “Crush Grapes” is the first single from the second collaborative LP with Producer/DJ RUEN entitled Malbec 2 (to drop on 7/19/24).
Sultry, tropical but still sportin’ thick bass and drums, the track is a perfect backing for Kingdom Kome to drop braggadocios bars on some boss shit. The video perfectly compliments the sonic sentiments with the emcee straight stuntin’ in his hometown of Miami, FL.
Watch official video for “Crush Grapes” here: https://youtu.be/aAJ_ludes90?si=gsvTYTzw4rx6GFY9
Speaking on the genesis of the track, the emcee said “Crush Grapes was actually the last record we did for the album. The album was already turned in and mastered. Me and RUEN were in the lab producing some records and as soon as I heard the infectious horns I instantly knew I had to call an audible and add this to the album!”
In regard to working with RUEN he added the following “I feel like I have different chambers and vibes I tap into depending on what producer or artist I’m working with at that specific time. Since RUEN is my DJ and longest working producer, I feel like we have developed a very signature sound together. He has an amazing ear and can go from some really grimey boom bap records to trap to R&B, dancehall and club records effortlessly, regardless of the record his signature drums always are hard hitting and I feel like with Malbec 2 we are both our prime and both in our prime and it’s my most well rounded project to date!”
This is the first in a series of singles and video which will drop prior to the LP’s release date.
More Info:
https://www.instagram.com/kingdomkome
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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