We Speak Music
Loose beat poetry fused with ravaged vocals on new Michele Ducci single ‘Hic’

‘Hic’ (Latin for ‘here’) is the third single from the debut solo album by former M+A and Santii member, Michele Ducci. The track is a more experimental departure from the rest of the album, fusing loose, percussive Beat poetry with ravaged vocals.
According to Ducci, “‘Hic’ came to visit me towards the end of SIVE’s recordings. I was listening to the tapes, it was night, the bathroom in the house had flooded and I had lost my voice. Not being able to continue recording the other songs because of the hoarse and broken voice I decided to make a new one exactly with hoarse and broken voice. I started improvising recording myself without instruments and only with what was left of my voice.
“Keeping in mind as canvas some verses by the poet Henry De Régnier I began the musical navigation with this sort of indirect free speech that revolves around the Copernican question of a taking place = x, a ‘hic’ more than a ‘now’, not extensive, but intensive, which is the root of every extended space. An immense threshold which is like a shadow “qui se retire ou s’allonge, selon l’heure du jour qui croît ou du jour qui décline, Marque le cours du temps et la saison divine où l’aube est toujours claire et le soir toujours long.”
“In two hours the song was done with some addition of drums and piano. And the nine-song album became a ten-song album…And with my vocal exhaustion I happily looked upon it as a kind of bizarre drunken Armstrong. I am still grateful for that experience!!!!”.
Accompanying the single is a video directed by Marco Catapano, which was filmed in Greece between Paxos and Corfù.
Michele Ducci’s album will be released on 7th June on CD in a colour printed card wallet as well as digitally. Pre-order CD here:
https://monotremerecords.limitedrun.com/products/758779
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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