We Speak Music
Psych Major returns with new single “Pre-Giuliani”
Emcee / Producer Psych Major returns with an ode to the New York of his youth. “Pre-Giuliani” (also featuring his home-town homie Squeegie Oblong) is peppered with references of touchstones to the five boros during the 70’s, 80’s and early 90’s that native heads will recognize.
Speaking on the joint he said “I miss the ol’ NY, not the crime, not the danger but the culture, the flavor and the history that you could glean from any block. These are some of my most vibrant memories of growing up then.”
This track appears on the new EP Old Head (out now via Below System Records) which also features Sadat X, Wordsworth and Dagha.
Order Old Head: https://bsr.ffm.to/oldhead
In addition to this EP, Psych Major is currently at work on a new project with Dagha and has recently produced tracks for Vic Spencer, Young Zee and the theme song to the new comedy special by Ron Taylor (Bill Burr Presents: The Ringers).
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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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