We Speak Music
Palmistry serves up stellar remix of Past Life Romeo’s acclaimed single “Sometimes, Most Nights”
Past Life Romeo is a brand-new alternative pop project, mixing electro, hyperpop and rock. There’s melancholy and a sensuality in the writing and voice of Camila, mixed with the eclectic productions of musician Carlos Loverboy (Spill Tab, Blossoms, Myd…) who co-prouced Past Life Romeo’s first EP, and the garage drums of Jim Casanova (Annie Ada…).
This first Past Life Romeo EP, scheduled for release on 24th May, titled “You Look Just Like Me”, was recorded at Motorbass and offers a mix of analog and digital; a disk that is both organic and intimate. Throughout the EP, we find the influence of Bon Iver and Burial, but also Sega Bodega or even the pop of Lorde.
The EP was mixed by James Rand (Eartheater, Sega Bodega, LSDXOXO…) and evokes introspection and intimate questions on change, self-image, gender and sexuality.
The first single to come from the EP “Sometimes, Most Nights” was released on PIAS on February 14, 2024 to acclaim from Wonderland, Radio France Inter, Tsugi, iHeart and gained features on Apple’s New Music Daily playlist, Inrocks selection of the week, month and year, Têtu selection of the month and more.
“Sometimes, Most Nights” shakes up the codes of the pop song: between verse and chorus, the line is blurred. The song’s temporality is cyclical, representative of what it evokes: a relationship that goes round and round and doesn’t move forward: “We go round and round again”. The track mixes saturated guitars reminiscent of early M83, with hyperpop production elements inspired by SOPHIE and the candid, avant-garde pop of Farrah Abraham.
“Sometimes, Most Nights” has now been remixed by Londonian singer and producer, Palmistry. His remix adds a bold shot of hyperpop, EDM, PC music and dancehall to the song, slightly sped-up, which makes it the perfect party-starter song for this summer, in the club or on a lonely day at home.

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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