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mypassionfortrash · 5 years ago

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KICKS (part five)

After you and Roger nail down his limits, you finally set a date for your first kinky playdate. And, more importantly, you open him up to brand new sensations!

WARNINGS: Strong D/s themes; restraints, edging, overstimulation, facesitting and anal. STRICTLY 18+. NOTES: Still going strong with this one! Thank you so much for all the kind words and amazing feedback on the first few parts. This chapter’s really long (over 6,000 words) so please brace yourselves! AND PLEASE, IF YOU LIKED THIS, SHARE IT!

CATCH UP: Part one // Part two // Part three // Part four

Tags: @jennyggggrrr @sarahgurl09 @scorpiogemini @johnricharddeacy @brianssixpence @hellohellothere12 @crazylittlethingcalledobsession @internationalkpoplova @thefairyfellersmasterstroke @six-bloodyminutes @hannafuckingsucks @dancingcoolcat @cherries-n-rocknroll @theedwardscollection @inthelapofrogertaylor @lnnuend0 @just-my-sickly-pride @yourlocalmusicalprostitute @johndeaconshands @loveandbeloved29 @toreyyyyyy

“Scat? Like… Jazz singing?” Roger’s eyebrows hiked up. “Definite hard limit.”

“You poor thing,” you muttered, wrestling with a scantily clad mannequin.

Roger looked up at you from behind the cash desk. He shrugged. “Well, what does it mean, then?”

“It means shit.”

He scowled, sticking out his tongue. “People get off on that? Having people… shit on them? Fuck that!”

You shrugged and fastened the clasp on the harness bra you had dressed Melanie the Mannequin in. Then you assessed her hard plastic, but still very naked, rack. “Yep. People definitely get off on it,” you said, reaching for a roll of black bondage tape. Melanie didn’t have nipples, but she still looked far too nude to be front and centre in the shop window, so you bit off small strips of tape and stuck two ‘x’ shapes across her breasts. That might keep the locals quiet, you hoped.

“Definite hard limit,” he hummed, checking the box next to ‘scat’ in the book. “Ok, so watersports?”

When Melanie was safely back on display, you turned around to find Roger nodding as he continued to study the book of kinks.

“I love watersports,” he said.

“That doesn’t mean what you think it does either, Roger. And I’m not going to wee on you.”

“Wee on me?” he repeated, narrowing his eyes. “Oh! Oh, fuck, no! Limit limit limit!”

Perching up on the opposite side of the cash desk, you grabbed the book. “Alright, so we’ve got blood, needles, breath play, scat and watersports as hard limits. I’m going to add vomit to this as well because I’m assuming you’re not into that?” you began, glancing up at Roger.

He gave a swift nod in response.

“And feet, hair removal, enemas and blindfolds as soft limits. Why the blindfolds?”

“Betsy.”

“That’s fair.”

“And you want to try orgasm denial, overstimulation, chastity, restraints, spanking, queening – for obvious reasons – as well as pegging with a question mark and… humiliation.”

“Yeah, I’m not sure what pegging is,” Roger said. He knew. The peachy-pink flush that flashed over his jaw and up to his ears gave him away.

“Remember Big Red?” you asked, nodding towards the display on which Big Red lived.

His voice grew smaller as the redness seeped to his cheeks and down to his chest. “Yeah?”

“And how you said you didn’t want anything in your bum? Ever?”

Roger nodded and rubbed his palms together.

“Well, pegging is when your partner puts things up your bum.”

His teeth sank into his lower lip and tugged. “That… that sounds interesting.”

“Still want to try it?”

Roger swallowed hard. Then he nodded.

“And you know what queening is?”

“Not really, but it sounded fun,” he said enthusiastically. Then he leaned forward, furrowing his brow. “What is it?”

“It’s when I sit on your face and you…” you trailed off, flicking your tongue through your fingers.

“Oh, wow! Sign me up!”

“Let’s do that as a reward for you,” you reasoned. “And you remember all of my rules?”

Roger recited your list like a well-prepared boy scout, looking pleased with himself. “No kissing. No touching unless you ask. No penetrative sex.”

“Good.”

“I… I was also reading in the book that some people like pet names – titles – when they’re… you know.”

You laughed and looked down at your hands. They were clasped together on the desk in front of you. “You usually get around to that once you know you’re going to be playing with someone on a regular basis. Why?”

Roger shrugged and smiled sweetly. “I don’t know. I’m just curious what you’d call me.”

“I’ll have to think about that one. See what you’re like when you’re needy and begging,” you purred.

“I can’t wait,” he sighed. “When do you want to… you know?”

Your insides contracted at the thought. ‘It’s too soon,’ your brain screamed. ‘He’s not ready. You’re not ready!’ But the burn between your thighs told you otherwise. Your heart did too, fluttering inside your ribs like a caged animal dying to be set free. “Tomorrow night sound ok?” you blurted.

Roger’s eyes brightened, lighting up even in the corner of the dingy little shop he found himself visiting. “That sounds great.” He went quiet for a moment, poking his tongue against the inside of his cheek. “What will I wear?”

“Well, you’ll be naked for most of it. It won’t matter much. Wear whatever you think will be comfortable.”

“Are we going to Doxy?”

“No, it’s probably better to start off at either your place or mine,” you explained. “Just in case things take a bad turn and you drop really badly.”

“Drop?”

“Sub drop, sorry. Sometimes if you’ve had quite an intense session, you might feel a bit sad or depressed. So it’s always a good idea to be somewhere where you can have some food, a nap, a bath, hugs. Whatever you need to get yourself feeling a bit better.”

“That makes sense,” Roger said. “I can come to you if you want?”

“Perfect. Just make sure you don’t drive to mine. I’d get a taxi there and back, but if you’re feeling shaky afterwards, you can stay the night. I have a spare room.”

“What time?”

“Eight sound alright?”

“It’s a date.”

Nerves paralysed you all day as you waited for eight o’clock to roll around – and for your playdate with Roger.

You toyed with the idea of cancelling.

You poked at the thought of feigning food poisoning or the sniffles.

And briefly entertained the notion, after spending two hours in the bath, of staying in your pyjamas for the whole session – why make the effort if you weren’t going to have sex?

But one phone call to Andie was enough to coax you into the right headspace. As much as you hated her for it.

“But I just don’t feel sexy!” you whined, rifling through your lingerie drawer. “I barely know him.”

“Well, you’ve got enough in that bloody wardrobe of yours to make yourself look sexy, don’t you? Fake it ’til you make it,” she said bluntly. “And besides, maybe this is what you need.”

“What?”

“A very attractive man that clearly wants you but can’t have you. Might do wonders for your confidence.”

You huffed, pulling out a bralette and a pair of silk french knickers.

“He’s a dish. And if you want, I’d be more than happy to take him off your hands.”

“Not necessary,” you said, shuffling out of your bathrobe. “I think I can manage.”

Andie perked up. “So what’s on the cards for tonight, then?”

Using one hand to put your knickers on was a bad idea, so you stuck the phone receiver in the crook of your neck. “What was that?”

“What are you going to do to poor princess Roger?”

“I reckon I’m gonna…” you paused, slipping on your bralette. “I think I’ll start slow. Maybe with a massage or something and work my way up.” Imagining what he’d sound like when he begged slapped a smile on to your face. “I think I’ll edge him until he’s absolutely desperate to get off and then…”

“And then what?” Andie purred.

“I’m going to let him. Over and over. And if he whines, I’ll ask him if he’d rather be belted.”

“You big softie! He’s already turned you to mush.”

“I don’t want to scare him off! And besides, I don’t want to hurt him. I think he’s still a bit hung up on what his ex did to him.”

“Listen to me, you’re going to be just fine. He’s definitely comfortable around you, and that’s the hardest part.”

“Thanks, Andie.”

“And I want details tomorrow morning!”

“I’ll call you first thing. Promise.”

“Alright, darling, I’ll speak to you in the morning.”

Perched on the end of your bed in your underwear, you assessed your reflection in the mirror just in case you had forgotten even the slightest small detail. Your hair was perfectly styled. Your make up was pristine. But you still lacked something. You just couldn’t put your finger on what.

Then the panic came back.

You had made such a big deal about separating all of this from feelings and sex and relationships, and now you found yourself worrying about what Roger might make of your appearance as if you merely existed to appeal to him. A simmering, self-directed rage got the better of you and forced you out of your bedroom in search of another unconstructive way to channel your nerves.

You found that in your drinks cupboard inside a bottle of vodka. Half measures weren’t something you did. You took the bottle and a glass back to your room, pouring yourself more than you needed as you walked. Only then did it strike you how much your hands shook. And what was missing.

At the end of your hall, a pair of stockings lay stretched across the rungs of your clothes horse with the rest of your laundry. Sinking the entire glass of vodka, a tiny lightbulb pinged to life above your head as you downed the last drop.

That’s what was missing.

The caress of nylon on your legs never failed to make you feel like nothing short of a goddess.

You scurried back into your bedroom on unsteady legs and tugged open your lingerie drawer again. Then you plucked out another pair of stockings and a garter belt. You shuffled out of your knickers and slipped on the newest additions to your outfit.

Much better.

You weren’t sure whether your newfound serenity was down to a simple pair of nylons or the triple vodka working its magic, but you felt ready to put Roger through his paces.

Until your brain interjected. Rude.

Were you going to play with him in your bedroom or the spare room?

You huffed, balling up your fists and resting them on your hips. Weighing up the pros and cons of both your options.

Play here and you wouldn’t have to waste time moving anything into the spare room.

Play there and you wouldn’t run the risk of having a sleepy Roger in your bed. After all, he was almost a stranger, and you most certainly did not have feelings for him.

You definitely didn’t like him in that way.

Or at least that’s what you told yourself, yanking open your drawer full of kinks. You knew exactly what you were looking for and quickly bundled the accessories into your arms, piling them high until you couldn’t carry any more. And then, you wandered through to the spare room.

You thanked your lucky stars that the bed was perpetually made, usually for drunk friends or when your parents came to visit. The idea of torturing one of the most sought after rockstars in the same bed that your parents occasionally slept in made you shudder. And it just wouldn’t leave your head.

Until the door buzzer pierced through your flat.

“Fuck.”

His voice was so bright when it sounded over the line: “Hi, it’s Roger!

“Come on up.”

As soon as you put the receiver down, you hurried back into the spare room to lay out everything you needed within reach. Your hands went back to trembling and your heart went back to racing. You could hear the rush of blood in your ears above the sound of yourself listing your accoutrements aloud. “Cuffs. Paddle. Lube. Oil.”

Before you knew it, Roger was at your door, giving it three sharp knocks that forced your soul from your body for a few seconds. You almost didn’t make it to the hall. Apprehension stiffened all the muscles in your legs. Even cracking the door open was a chore.

But all of that subsided when you saw Roger pacing in the landing. The first thing you noticed was how his hands clung to the collar of his coat in a white-knuckled grasp. And then the coy smile on his lips when he spoke. The way he stopped dead, but couldn’t look you in the eye. “You look nice.”

It took every ounce of restraint you had not to giggle like a giddy schoolgirl. Instead, you smiled back and stepped aside. “Come on in and make yourself at home.”

For a split second, a bolt of electricity surged through you. The fleeting graze of his coat against your arm. The heady scent of his aftershave. How he ruffled his soft blonde hair as he stood idly and awkwardly in your hall.

All you could manage was a feeble, “How are you feeling?”

“I’m not going to lie, I might have had a shot of whisky before I came here.”

“I’m not going to lie, there’s a bottle of vodka sitting on my bedside table,” you laughed. “You’re still sober enough to go through with this, aren’t you?”

“It was just a shot,” Roger said, “don’t worry.”

“Ok,” you nodded. Without saying another word, you wandered over to Roger and unfastened the buttons on his coat.

His breathing hitched when you edged the heavy fabric down his arms, but he still couldn’t make eye contact with you. “Won’t be needing that,” he chuckled.

That dark-lashed gaze of yours went straight to his gut. “You won’t be needing any of it.”

“Right, yeah,” he said. “Will I… you know… take it all off?”

You arched an eyebrow, “Come through to the spare room first.” Grasping Roger’s hand, you led him through. As soon as he clapped eyes on everything laid out on the bed, his grip tightened. You turned to him to find his eyes widening. “You like the look of this?”

He gulped. Then he nodded.

“Don’t worry, I’ll go easy on you. I’m a bit out of practice myself. It’ll take us a bit of time to get into the swing of things.”

“Looks like you’re already in the swing of things,” he grinned. Before you could croak out a response, Roger was already undressed down to his underwear; red briefs with a growing tent in the middle.

“You look rather smug,” you said, feeling emboldened enough to drag your nails over his collarbones. “Lose the underwear.”

“Why do I get the feeling you’re going to be quite the slavedriver?” he grinned.

You shrugged, watching him hop out of them. “Because I am?”

“Good.”

“We’re going to start off really slow, though,” you explained, leading him over to the bed and sitting down next to him on the edge. “I’ll gradually ramp it up a bit but if you need me to drop back a bit, just say: ‘yellow.’ Got it?”

“Got it.”

“And if it gets too much–”

“Red.”

“Red. Good. And please remember to use them. I want you to enjoy this.”

“I will don’t worry,” he said, looking you square in the eye. His cheeks were already flushed.

Before any second thoughts could creep back into the space between you and Roger, you rose to your feet. “And please remember not to touch me unless I ask you to.”

“I have a feeling you’re not going to give me much of a chance to,” he quipped, nodding at the cuffs beside him.

“You’re awfully lippy tonight,” you smirked.

“You make it too easy.”

“Maybe I should leave the slow start and skip to the good stuff.”

“Maybe you should.”

“Or,” you began, stepping forward, “I could make you suffer. You’d like that, wouldn’t you?” Roger didn’t say a word, but he did keen into your touch as your nails clawed down his neck. With one hand on his chest, you didn’t have to use much force to get him to sink backwards. “On your front,” you instructed.

He complied, folding his arms underneath his chin. His calves hung over the edge of the bed, toes wiggling in anticipation.

You bent down close to Roger’s ear. “Good boy.” The sensation of your breath on his neck made him jump, but you noticed his eyes closing and a sweet smile forming. The damage Betsy had done was still visible across his muscles; a reminder to go gentle on him. You wandered around to his other side and grabbed the bottle massage oil lying beside him. Not caring to warm it up, you drizzled some on his spine. He winced, trying to roll on to his side, but his movements weren’t quick enough. He was pinned. Under you. Straddling his hips, you found yourself in prime position to manipulate him exactly as you wished. But first, all you wanted to do was explore him – every inch of him.

The join between his neck and shoulder was a familiar spot. His own hands wandered there all the time. But, for some reason, yours felt better, kneading out knots caused by years of non-stop touring. That, along with the soothing scent of lavender on his skin, turned him to putty in your hands.

He might have fallen asleep like that, too, had it not been for you shuffling lower along his thighs, placing yourself within easy reach of the rest of his back. Using every surface of your hands in slow, agonising waves. Up and out, stretching him until he groaned, overcome with sheer bliss.

“I thought this was all about pain,” he said.

You tugged your lower lip between your teeth. “As much as I’d like to smack that glorious bottom of yours, I think you probably deserve this a little bit more. How does it feel?”

“It feels amazing,” he hummed. “I’ll be a new man after this!”

Impatience almost got the better of you the lower down on Roger’s body that you moved. So much so that you had to bypass his bottom altogether to keep yourself on an even keel. As much as you were dying to see him squirm and hear him beg, the buildup was even more critical. So you slipped off the bed and focused on Roger’s legs instead. Soft yet slender in your hands, you worked more oil up his calves and settled on the backs of his knees. Your fingers moved like feathers over those sensitive spots, coaxing a strained whine from Roger as he tried to squirm away from your touch. “If you don’t lie still, I’m going to have to restrain you,” you warned.

The curves of Roger’s back quivered with a sharp intake of breath at those words. Then he relaxed again. But not for long.

Moving up towards his thighs, you relished that unexpected softness. You weren’t massaging anymore; instead, you pressed the soft flesh, letting it pale underneath your fingertips. Roger’s thigh parted ever so slightly, granting access to the even more sensitive spots between them. His desire skyrocketed, arching his back when you clawed pink tracks up and down his skin.

“You’re getting needy, aren’t you?” you purred.

“Mmhm. Feels so good,” he said, swaying his hips.

“I bet it does.” A swift smack to Roger’s bottom had him rolling over on to his back. His cheeks were flushed and his breaths were cautious. He moved to cover his eyes with his arm but you quickly stopped him. “I want you to look at me.”

Roger’s jaw slackened but never once did his eyes leave you.

For all the effort you had put into loosening Roger up, his body tightened as you curled the fine hairs on his chest around your fingertips. Unable to even breathe, all Roger could do was lie beneath you, and watch.

And you took pleasure in observing his reaction. He adored your touch, you could see it in the way his pupils blew out every time he looked at you or the way his hips rolled up against yours. “I think I’m going to have to keep you still, Roggie,” you said, finally reaching his hips. You quietened down, lowering your voice to barely a whisper. “Would you like that?”

Roger looked like an angel – his beautiful thick eyelashes fluttered while his gaze shifted to you. The calloused pads on his fingers drummed against your stocking-clad thighs, unable to contain any patience he has left. “I think that would be a good idea,” he said with a contented smile.

“You’re smiling now, Roger. You won’t be later,” you said, removing yourself from him. Then you set about looping thick leather straps around his wrists.

His tongue poked out as he watched in awe, following every single one of your movements, binding him to the headboard. Removing all ability for him to get away from your onslaught. The delight in his smile grew when you straddled him again, just below his swollen, throbbing cock.

“Are you enjoying this?” you said, brushing your nails over his length, encouraging his hips to buck and roll into your grasp.

Roger bit his lip and nodded, allowing himself to be carried away by the much-awaited contact.

A sharp slap to his thigh jolted him back to his senses. “Use your words.”

“Yes, I love it.”

You gave Roger a sly smirk as you reached for the bottle of lube beside him. With the bottle held high, you allowed beads of the clear liquid to drip down. The freezing cold lube colliding with his skin had him straining against the cuffs, but he soon held still. One scalding hot glance from you made sure of that.

Apparently, he was the rebellious one in Queen, but here he was, docile and pliable. Doing anything to have his balls drained.

He wasn’t getting his balls drained that easily.

You used one hand, slipping his length through your grasp. “Let’s lay down some ground rules about how this is going to go, shall we?” you began, punctuating that with another pass over his cock. “You’re not getting off until I say you can. Do you understand?”

“Yes,” he sighed, trying to bury the side of his face into the pillow.

You grabbed his jaw, forcing him to look at you. “And you’re going to look at me the whole time.”

His voice faltered, glancing down at your hand gathering pace. “Got it.”

“If you come without my permission, you will be punished.”

Roger gulped, casting an eye over to the soft leather paddle beside him. “Will it hurt?”

“Depends on how naughty you are.”

“I promise I’ll be good,” he sighed. “Promise.”

You loomed over Roger, your noses practically touching. “And if you’re good, you’re going to get a little treat.”

“What kind of treat?”

“It’s a surprise.”

“Oh god,” he whined just as your free hand joined the party, circling the swollen head of his cock. “I don’t think I’m gonna last long.”

“Well, you had better start begging.”

A laugh rose in Roger’s chest and he did his best a suppressing it enough to strangle out a feeble, “please.” As if that would convince you that he really did need release.

“I think you’ve got a little bit longer in you,” you said, finding your rhythm. The slick sounds of those smooth, purposeful motions, coupled with Roger lying underneath you, his lips slightly parted as he looked up with you made the heat between your thighs grow. You really wanted him there and then.

But this wasn’t about you.

And Roger was fast reaching the end of his rope.

You swore you had never seen his cheeks so red.

“Please, please please, I need to come!” he whined. “I’m so close! Oh, god, I’ll do anything.”

A dull ache throbbed in your wrists. But you were desperate to draw this out for as long as possible. It wasn’t what you planned, but it guaranteed your chance to push Roger almost to his limit. “Alright, Roggie, come for me.”

“R-really?” he stuttered.

“Come for me. Be a good boy for me.”

“Oh my god,” he grinned. His eyes closed. His hands grasped at the slats on the headboard. He was buckling up for wave after wave of pleasure to surge through him.

Except the waves didn’t arrive.

Roger’s eyes shot open with a whine. “What the fuck?!” he squeaked. His mind was too blurry to register that you were in the middle of tugging off your underwear.

Until your dripping wet cunt lingered just inches from his face.

“I just wasn’t convinced that you really wanted to come.”

“Well, I fucking did!” He was testing you. He had to be.

“Oh, really?” Your patience had worn thin. In one swift movement, you turned and plonked yourself down on Roger’s waiting mouth. “Well, fucking prove it. Show me how much you want it.”

Roger wasted no time allowing his tongue to explore every inch of you that his restraints allowed him to reach. He wasn’t even sure if he could get you off like this, but he’d be damned if he didn’t give it his best shot. After all, he was desperate to avoid another ruined orgasm. Ravenous, in fact; sucking and licking at your folds before turning his attention to your clit for a brief moment. And he was sure to let you know just how grateful he was to get to taste you. Every satisfied hum shot through your body, making your hips kick into motion on top of him.

“Finally a good use for that tongue of yours,” you remarked. Leaning forward, you began jacking Roger off again. “Let’s see if you deserve to come this time.”

He sighed against you. He wasn’t about to let another orgasm slip through your fingertips. He had to let you know he wanted it. Eagerly, desperately, his tongue swirled over your clit, gathering its own feverish pace.

Now you started to realise what all the fuss over Roger was about. You had never heard him be so quiet since you met him, and for good reason. He was an expert with his tongue both in an out of the bedroom.

But you were so fixated on that intoxicating feeling that you neglected your own duties. You looked down to find that your hand was no longer moving along his desperate looking shaft; just idly palming at it. He wasn’t going anywhere with that action.

So you made a conscious effort. Fighting against Roger, you got to work to bring him right to the brink of release. To the point where his moans made you squirm, and the muscles in his thighs tightened again. “Do you want to come for me, Roggie?” you moaned, grinding your cunt against his mouth.

He couldn’t speak. Of course he couldn’t. But that didn’t stop him trying to whine an almost convincing ‘please’ between circling your clit with precision.

“Come on, Roggie, come for me. Come for me,” you urged, grinding your hips with more urgency.

Just when you were about to allow it, Roger’s attempts at pleasing you stilled.

Just when he was about to get off, you let go.

You leaned back and rode Roger’s face. “I didn’t tell you to stop,” you scolded. “Keep going,” you urged.

Begrudgingly, Roger’s tongue darted over your clit again with the same steady pace in just enough time to stop you from coming down completely. But he made his impatience obvious, angling his hips to lure your attention back to his cock.

You weren’t going to bow to the pressure right away.

Why should you?

When he was this keen to please you, you were hellbent on letting him.

The sea of pleasure inside you raged. Keeping your balance fast became a chore. You gripped the headboard behind you for dear life, drawing your weight backwards. “God, you’re so good, Roger,” you gasped. “That fucking mouth!”

Roger moaned against you as you rode his face. He relished this as much as you did. He found himself absolutely addicted to your scent and the sounds you made. The way you moved.

Hunching over, you gripped Roger’s thighs as your own stiffened on either side of his face. Immobilised by the most intense, soaring bliss you had ever experienced, you were certain you were going to see stars after this. It felt like your body had shut down as it welcomed the electricity that pulsed through you.

Coming down, you were met by the sound of Roger trying to urge you off of him. You didn’t even know how long you had been out for. And here he was just dying to get off.

How selfish of you to neglect your new little plaything.

Sitting up straight, still straddling Roger’s face, you inhaled a deep breath in an attempt to gather your composure. Every muscle in your body felt like liquid as you moved, turning yourself around to get a good look at him.

He looked pleased with himself. His sickeningly pretty features were scarlet and glistened with sweat and arousal and all you wanted to do was kiss him. Just a little taste.

But you couldn’t. Feelings were out of the question.

“I think you really deserve to come, Roger, don’t you?”

“Yeah,” he sighed with a soft expression.

“I think you deserve a really, really big reward for being such a good boy,” you teased, swiping your thumb along his lower lip.

“I do. Thank you.”

Your free hand crept down to Roger’s cock again. Still hard and throbbing. “And you know that I only want to make you feel really really good?” No holds barred.

“Mmmhm.”

“Good boy,” you praised.

Even hearing that made Roger’s muscles twitch. “You’re not gonna do that to me again, are you?” he asked, squeezing his eyes shut. Bracing himself for disappointment.

“No, darling,” you soothed, “you can come as much as you like now. Any time you like.”

Roger must have sensed the change in your tone when you spoke, because as soon as you gave him permission, his whole body shook and the only words he could manage was a strangled, “thank you!”

He came down quickly; most men did. But what struck him when the fog in his head cleared was that you weren’t done with him just yet – even though he had to crane his neck to see you at the foot of the bed with your tongue gliding over the shaft of his cock.

“Oh fuck,” he sighed, throwing his head back.

“You didn’t think it’d be over that soon, did you? That would’ve been disappointing.”

“No! Just… just be careful!”

You couldn’t resist. You had to make him suffer even just a tiny bit. So, with a devilish smirk, you swirled an excruciatingly slow lap around the tip of his cock, savouring the last drops of cum that glazed it.

Roger hissed, but his hips told a different story – bucking wildly in time to your efforts. Pressing his cock into your mouth. “Fuck,” he cursed again.

With one hand, along with your mouth, you settled into another determined rhythm. Your hand worked his shaft, while your tongue tackled just the tip. Roger had surpassed the initial pain and was back to gazing down at you in awe. His teeth clenched together. His wrists tugging at their binds. But the sheer girth of his cock meant that it was only a matter of minutes before a dull ache seeped into your jaw if you so much as attempted to take any more of him in your mouth.

And it would take longer this time around for him to come.

Then you spied the bottle of lube nestled against Roger’s hip. The jewel in the crown of your new master plan.

Roger’s cock left your mouth with a pop, just long enough to check in with him before you proceeded. After all, his legs were still wild and free; you didn’t want to risk being kicked in the face. Some men didn’t take well to what you were about to do. “Do you trust me?” you asked, gazing up at him with wild eyes.

“Not gonna lie,” he puffed, “after all of this, I’m starting to have trust issues.” The broad smile he shot you told you he was joking.

You reached for the lube with your free hand and kept your sights trained on him. “I need to hear you say it though. I can’t make you feel really really good if I don’t think your heart’s in it.” He couldn’t see what you were doing, but he did strain to see what the suspicious click was when you opened the bottle and squeezed some lube on to your fingertips.

“I trust you.”

“Good,” you said, bringing your lips down on to the head of his cock again. Concealing what your free hand was preparing to do.

When Roger was safely duped into believing that your intentions were genuinely pure, you pressed a finger to his backdoor, massaging his tight, sensitive ring. At the same time, your tongue continued to flutter over the head of his cock. The new sensation had him mewling in delight. You never expected that reaction from him. Even the way he rolled his hips for leverage against your finger. Slowly you eased it inside him, right up to the knuckle. Then you curled it in on itself, seeking out his sweet spot.

“Fuck,” he purred.

“Feel good?” you asked.

“Better than I thought, god.”

You slipped a second finger inside him, applying just the right amount of pressure for his breathing to labour. Now was the time to take things up a notch. To put on a show for him. Taking as much of Roger’s cock as you could in your mouth, you made a point of making as much noise and as much mess as you could. Your spit made his cock glisten and pass through your lips just that little bit easier. Sometimes it overshot and caught the back of your throat. He seemed to love it when your mascara started to run.

“I-I think I’m gonna come again,” he groaned. He was beginning to tense up again; everywhere, including around your fingers.

You gave a pleased moan in response, not wanting to let up too soon.

“Oh, I’m definitely gonna–“

That orgasm had already rolled into another, not allowing Roger any letup. Your hand and your mouth were missing from his cock, but your fingers still pressed up against that one magic spot inside him. His legs continued to spasm alongside your efforts.

“Got another one in the tank for me?” you grinned.

“I think so,” he gasped.

“I’m gonna take these cuffs off you, Roggie,” you said, scrambling to your knees, fingers still working towards one final explosion of pleasure. “You ready?”

He nodded profusely. “Please.”

With one hand still preoccupied inside Roger, you stretched over him. You swore you felt the tip of his nose caress your chest. Your other hand unbuckled each cuff around his wrists, and, with him being the obedient little submissive he was showing himself to be, his hands didn’t go straight to your waist or your thighs. Instead, they draped delicately above his head with his elegant hands clenching into bony fists.

You stroked his matted, sweat-soaked hair. “One more, darling,” you soothed.

Roger nodded. “One more.”

“Touch yourself for me,” you said, moving backwards to get a better view.

Roger groaned as his fingers tentatively wrapped around his semi-hard cock.

“That’s it. You look so pretty like this.”

“Fuck,” he whined. The fingers on his other hand raked through his hair, tugging at the roots to get a handle on the stinging sensitivity between his thighs.

“You can go a little bit faster for me, can’t you?”

“Yes.” He could, but he had to force it. He gritted his teeth and moved his hand quicker, with more purpose. In the back of his mind, he was sure his cock would never work again after this. Certain he never wanted to come again. And he definitely didn’t have enough energy left inside him to coax out another orgasm. But he still wanted to hear you praise him, to tell him how good he looked, jacking himself off right there in front of you. His whole body trembled, and his skin was saturated with sweat.

“You’re so beautiful Roggie.”

His hand moved a little bit faster. “Thank you.”

Your free hand trailed up his chest towards his neck. “You love coming for me, don’t you?”

Faster still. “Yes.”

You gave it a slight squeeze. Enough to quieten his moans for a moment. “And you love having that gorgeous arse of yours fucked while you do it?”

Even faster, ’til he could barely get the words out. “Mmm, I love it.”

You leaned in close to Roger’s ear. “Next time we do this,” you began, “it won’t be my fingers. I’m not going to go easy on you, Roggie. I’m going to put that tight little arse of yours through its paces and really make you squeal.”

NEXT >>

#roger taylor x reader #roger taylor #roger taylor x you #queen

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igazikutya · 4 years ago

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Zajok a nappaliból – Grande Traxelektor 2020 – „SENSE”

Kétezerhúsz összegzéseinek utolsó fejezetéhez, a „Sense” nevet viselő downtempo, ambient, dub, experimental, trip-hop és ki-tudja-még-mi-más műfajú, egyben a legsokszínűbb Traxelektor válogatáshoz értünk, 101 felvételből összeállítva. Hogy mitől soxínűbb? Egyszerű a matek: Egy nagyobb szobában sokkal kreatívabban tudod ugyanazt a bútor mennyiséget elhelyezni. Ühüm. Aha! De mi van akkor, ha a bútor is kevesebb? Üljünk le, kávé, cigi, brit tudósokért kiáltó paradoxonhoz értünk. Elnézést kérek a kedves olvasótól, nem gondolom, hogy ez valami zenei feng-shui, pláne nem ikeabana volna, de tény, az itt hallható művekre leginkább igaz, hogy van bennük bőven csend is, hogy terük is van, nem stadionnyi (anno görög, mára magyar mértékegység), hanem akár galaxisnyi méretben. És persze ne felejtsük el, hogy a tetriszhez is kell beesési tér, még ha a vége egy tömör valami is. Szorri, kezd ez az írás is elszabadulni, és a neves költöztető és fuvarozó, Simon “Django” László vallomásává alakulni. Idézem: „ Az emberek alapvető tévedése, hogy igyekeznek minél több dologgal feltölteni a meglévő dolgok közötti, még megmaradt részt (rést)” - írja Simon, a Kisteherem, a mozgó/fekvő tetrisz - a költöztetés metafizikája címü esszéjében. A műben ezt a jelenséget elcsetreszesedésnek nevezi. (Kisteherem pedig nem egy iráni település, csak az autója) Szóval no more csetresz, let there be space! ...and time! Szóval a tér, a tér, ott jártunk. Environment. Ambience, Milieu és Entourage a négy térőr. Biztos neked is megvan az az élményed, hogy állsz mondjuk egy domb vagy hely tetején és hallgatod a kilométerekre haladó autók vagy vonat hangját, amint szétterül a tájon és összekeveredik az ugató kutyák és egyéb közeli történések hangjával, mondjuk hirtelen becsapódik egy ajtó. Ma már ennek műfaja van, field recordings-nek hívják, még kiadó is van ilyen néven. Ezek az arcok füllel fotóznak, mert a zaj is zene. Igazából mindig is zene volt, az egész világ zene, és bármilyen részéből fotóznál ki egy szeletet a füleddel, az is ebbe a kategóriába kerülne. (Mitka - Mедитация) Lényegre térve... Az egyébként is mindig aktív ASC (James Clements) idén 4 felvétellel is bekerült, ebből kettőt párosban abszolvált Sam KDC (Samuel Wood) társaságában. Üde színfoltok az év végén hajrázó C.P.I., Hugo Capablanca és Marc Piñol erősen pszichedelikus párosa két felvétellel is, HAAi-től a Head Above The Parakeets, a Teleplasmiste mágikus mélységű An Unexpected Visit-je, Jimi Tenor-tól a Kiss Me After The Acid Rain. Klasszikus galaxisépítőink közül is többen aktívak voltak, a The Grid Floatation-jének a Special Request (Paul Woolford) készített olyan remixet, mely a kilencvenesek klasszik ambientjét idézi, a Higher Intelligence Agency Discatron EP-jével jelentkezett szólásra, a The Future Sound of London folytatta a múlt jövőbe történő expanzív teleportálását, idén az 1994-es Lifeforms ambientdupla nyitótrackjét, a Cascade-et bontották tizenhárom dimenzióba. Robert Henke Monolake-je is két felvétellel igazolja, a rutin nem zárja ki a megújulást és kreativitást. A covidra való legfrappánsabb reakciót Le temps isolé címmel élhettük meg Mouchoir Étanche (Marc Richter) jóvoltából. A külvilág messze van, homályos, a lélek pedig mozdulatlan lebeg. Slágerünk is van, mégpedig egy slágerírótól: az egykori Air egyik felétől Nicolas Godin-tól a The Border. Nekem slágerszámba ment a brit testvérduó uh-tól (Dominic és Fionnuala Kennedy) a Seasick In Salts is. Rødhåd (Mike Bierbach, aki berlini, német, és nem viking) Mood albumáról két felvétellel került be, Vril-lel közösen (Out Of Place Artefacts) pedig eggyel. Jay Glass Dubs Soma albumán közreműködve osont be a ciprusi görög Maria Spivak az underground színtérre, hogy aztán szerzői albumával (Μετά Το Ρέιβ – a fordító szerint ez „A rave után”-t takar) ott is ragadjon, két felvétellel klubtag. Amúgy meg, talán már említettem év közben is, hogy az oroszok nem hogy a spájzban, de a nappaliban vannak, a Traxelektor minden kategóriájában, eltérő műfajokban fel-feltűnnek ifjú orosz muzsikusok, mint például Yenisei (Ilya Burtsev Szentpétervárról) vagy a ФАКТУРА kiadó Ural Cult válogatását is említhetném. Hazánk a „Sense” kategóriában is képviselve van, a horhos (Gugyella Zoltán és Győrffy Ákos) duójának személyében, a Mana Manánál megjelent 7 darab címet viselő lemezről egy track-kel, Mike Nylons (Borsos Janó) Eneme trilógiájának első részéről a Maelströmmel (a Farbwechsel gondozásában) és persze tigrics (Bereznyei Róbert) két kedvességgel, kiemelten a Iowe-val.

Spotify playlist

(79/101, 8h04m/9h51m)

Acid Pauli - Propagating Flip Flops [Mod, Ouie] African Head Charge - Dervish Dub [Churchical Chant Of The Iyabinghi, On-U-Sound] African Head Charge - Peace and Happiness [Churchical Chant Of The Iyabinghi, On-U-Sound] Alternative Particle Choir - Magic Feet [Black Hole Diaries , -wdo- Collaborations] Alva Noto - Xerrox Kirlian [Xerrox Vol. 4, Raster-Noton] An Gleann Dubh - Valley Falls Deep (Remix) [Fd 004, Full Dose] Anatoly Grinberg & Mark Spybey - It Started to Move Towards Me [The Failure of Language, Ant-Zen] Anna Homler & Alessio Capovilla ‎- De'la Cocce [Vasi Comunicanti, Gang Of Ducks] Anti Drone Squad - Self-Surveillance [Pax Digitalis, Sin Hilo] Aril Brikha - Everything Was Here First [Dance Of A Trillion Stars, Mule Musiq] ASC - Particle Fields [Colours Fade, Volume Five, Auxiliary Transmissions] ASC - Permafrost [Pattern Recognition - Second Sequence, Auxiliary] ASC & Sam KDC - A Lasting Impression [A Restless Mind, Auxiliary] ASC & Sam KDC - Delusions [A Restless Mind, Auxiliary] Atom™ - R3V [<3, Raster] Automat - Ankaten (Patrick Pulsinger Remix) [Modul Remixes #1, Compost] Ben Bondy - Proraso [Sibling, Experiences Ltd.] Bochum Welt - Color Me (Telefon Tel Aviv Remix) [Seafire Remixes, Central Processing Unit] Burial x Four Tet x Thom Yorke - His Rope [Her Revolution / His Rope, XL] CAO - Flesh Luminescence [Flesh Luminescence, Club Chai] Carmen Villain - Observable Future (D.K. Remix)[Both Lines Will Be Blue Remixed, Smalltown Supersound] Chris Liebing feat. Gary Numan - Polished Chrome (The Friend Pt. 1)(Remixed by Chris Carter) Commodo - Procession [Procession, Deep Medi Musik] CPI – Islaalsl [Alianza, Hivern Discs] CPI - Templo De Agua [Alianza, Hivern Discs] Cremation Lily - November Sails (Demo)[Oceanic Debris, Self-released] Dadub - Infinite Regresses [Hypersynchron, Ohm Resistance] Dadub - Of Simulacra [Hypersynchron, Ohm Resistance] Deadbeat & Paul St. Hilaire - War Games [Four Quarters Of Love And Modern Lash, Another Moon] Deadbeat & The Mole - Rollin Heavy In The Spielplaz [Deadbeat Meets The Mole, BLKRTZ] dgoHn - Electryon [Undesignated Proximate, Love Love] Die Wilde Jagd - Gondel [Haut, Bureau B] Dimensional Holofonic Sound - Seeing Is Believing (Remix) [Seeing Is Believing, Holofonic] Dom and Roland - The Expanse [Lost In The Moment, Dom & Roland Productions] Elder Island - Stranger Exchange (Jay Glass Dubs Remix) [The Omnitone Collection Remixed Pt. 1, Elder Island] E-Saggila- Replica [Corporate Cross, Hospital] Fluxion - Distance [Perspectives, Vibrant Music] Forest Drive West - Invisible [Mantis 01, Delsin] Forest On Stasys - Ùtero [Ataraxia, Accents] Future Sound Of London, The - Cascade Part 7 [Cascade 2020, fsoldigital.com] Future Sound Of London, The - What Falls Away is Always [Cascade 2020, fsoldigital.com] Ground feat. Sinkishi & Kabamix - Wakusei Y [Wakusei, ESP Institute] HAAi - Head Above The Parakeets [Put Your Head Above The Parakeets, Mute] Happa - One Three Five [Blue 07, Whities] Hermes X - My Perception [Mutual Aid 2020 by Boheh Allstars, Mutual Aid] Higher Intelligence Agency - 3P [Discatron, Self-Released] Higher Intelligence Agency - Discatron [Discatron, Self-Released] horhos - Metropolitan Avenue-Coney Island [7 Darab, Mana Mana] Hoshina Anniversary - Shinju [Go Shichi Go Shichi Shichi, Youth] Jay Glass Dubs - Hyperacousis (for Miles) [Rijia, not on label] Jay Glass Dubs - Indolent [Rijia, not on label] Jimi Tenor - Kiss Me After The Acid Rain [Metamorpha, BubbleTease Communications] Jóhann Jóhannsson & Yair Elazar Glotman ‎- A Minor Astronomical Event [Last And First Men (OST), Deutsche Grammophon] Jon Hassell - Timeless [Seeing Through Sound (Pentimento Volume Two), Ndeya] Jonathan Fitoussi - Soleil de Minuit [Plein Soleil, Obliques] Kanthor - Apologie du Nom [Mathème, Shaded Explorations] KAZUHO - 紫鳥線テンダー (SHICHO-LINE TENDER) [Blitz, 99CTS] LF58 - Evocazione, Contatto, Risveglio [Alterazione, Astral Industries] Loscil - Faults [Faults, Coasts, Lines, Self-Released] Lucrecia Dalt - Disuelta [No Era Solida, Rvng Intl.] Mantris - Augustine Tower [Souvenirs from Imaginary Cities, Souvenirs from Imaginary Cities] Marco Shuttle - Ritmo Elegante [Ritmo Elegante, Spazio Disponibile] Metal - Point Vacancies [Point Vacancies, ESP Institute] Mike Nylons - Maelström [Eneme I, Farbwechsel] Mitka - Mедитация [VA - Ural Cult, ФАКТУРА] Monolake - Phaenon Ono [Archaeopteryx, Monolake - Imbalance Computer Music] Monolake - Plateaux Orthogonal [Archaeopteryx, Monolake - Imbalance Computer Music] Mouchoir Étanche - Le temps isolé [Une Fille Pétrifiée, Cellule 75] Nathan Fake - Ezekiel [Blizzards, Cambria Instruments] Negativland - Don't Don't Get Freaked Out [The World Will Decide, Seeland] Negativland - The World Will Decide [The World Will Decide, Seeland] Nicolas Godin - The Border [Concrete And Glass, Because Music] Nummer Music - Sea Junkies [Night Confidence, Nummer Music] Regis - Blood Tide [DN Tapes, Downwards] Rer Repeter - Principles Unknown [Mutual Aid 2020 by Boheh Allstars, Mutual Aid] Rødhåd - Like Sleepwalkers Ghosting Through A Dreamscape [Mood, WSNWG] Rødhåd - No Forms To Fill Out, No Instant Check, No Waiting Period [Mood, WSNWG] Roedelius - Ebenfalls [Selbstportrait - Wahre Liebe, Bureau B] Roger Robinson - Forward [Mutual Aid 2020 by Boheh Allstars, Mutual Aid] Sabaturin - Direnker [Kenemglev, Holuzam] Significant Other - Mike's Gone Back To Manchester [Club Aura, Oscilla Sound] Soreab - Flowers [Kraepelin Avenue, Baroque Sunburst] Spivak - Enough Throwbacks [Μετά Το Ρέιβ, Ecstatic] Spivak with H4S- Σχεδόν Σίγουρα [Μετά Το Ρέιβ, Ecstatic] Surgeon - Europa Code [Europa Code, Ilian Tape] Teleplasmiste - An Unexpected Visit [To Kiss Earth Goodbye, House of Mythology] The Black Dog - Cup Noodle (Unemployed Youth Version) [Further Fragments, Dust Science] The Grid - Floatation (Special Request Remix) [Floatation (Special Request Remix), Chemical Alley] tigrics - Kerns [Dimensionless, Self-released] tigrics - lowe [Dimensionless, Self-released] Tomaga - Osiris' Theme [Extended Play 2, Self-released] uh - Seasick In Salts [Seasick In Salts, PRAH] UVB76 - Anya [Iwa Gaaden, Random Numbers] Varuna - Ratu [Mantis 04, Delsin] Vril & Rødhåd - Nazca [Out Of Place Artefacts, WSNWG] Wata Igarashi - Reflections [WIP02, WIP] XQST - HRBA [eXquisite CORpsE presents XQST - AE, Isla] Yenisei - Insomnia [Melancholy Of Decay, TESTFM] Yenisei - Swirl [Melancholy Of Decay, TESTFM] Yui Onodera - Ray 1 [Ray, Serein]

#traxelektor #grande #2020 #intelligent #dance #music #underground #electronics #leftfield #zene #zeneajánló

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shemakesmusic-uk · 4 years ago

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Simpson is a Richmond-based singer and rapper who you may also know as Babe Simpson, one-fourth of the Tumblr-born rap collective Barf Troop. They dazed the internet back in the early 2010s with their uncensored, forward-thinking rhymes and aesthetics, and even got the attention of Drake. Though the collective has gone silent in recent years, Simpson has since cultivated her own steady following around her soft, and ruminative tunes. Her latest is 'Cherry Ice Cream Sundae,' a song about "treating ourselves with as much tenderness as we treat everyone else," she says, and is backed by a lush landscape of jazzy guitars and drums — a sound that could be considered a close sibling to the rap lullabies of Noname. Simpson's now sharing the song's peculiar video, which features a charming but eerie cast of marionette puppets. Over email, Simpson explains that she wrote the song after experiencing "a feeling that I’ve always been trying to put into words but I don’t think I was mature enough to be able to sing. I reached my breaking point where I was like, f*ck it, whatever happens, happens, and I’m gonna look on the bright side everywhere I can. I’m going to 'smile because I can.' I actually changed the original opening lyrics from 'The world is in the shitter' to 'Life is kind to who’s kind to it back.' The world has always been in the shitter, but that hasn’t made it any less special or sweet. I think that’s made me much more of a realist. I recorded it tipsy, upside down, hanging off my bed as a freestyle, and it felt so natural saying and listening to it back made me feel so proud." [via NYLON]

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Earlier this week, Lana Del Rey revealed the artwork and tracklist for her new album Chemtrails Over The Country Club. Back in October, Del Rey shared the album’s lead single 'Let Me Love You Like A Woman.' It was the first song she shared from the album after postponing its planned September release. Now, she’s sharing the album’s second single and title track. She’s also announced that Chemtrails Over The Country Club will be out March 19. In a lengthy interview with BBC Radio 1 — during which she talked about the Trump insurrection and her album cover controversy — she mentioned that Jack Antonoff produced much of the album, minus 'Yosemite,' which was produced with Rick Nowels. Watch a music video for the album’s title track, directed by BRTHR, above. In a different kind of statement, prior to the release of the 'Chemtrails Over The Country Club' music video, Del Rey explained why she is wearing a cast in it: "When you see my second video for this album, don’t think that the fact I’m wearing a cast is symbolic for anything other than thinking I was still a pro figure skater. I wiped out on my beautiful skates before the video even began after a long day of figure eights and jumps in the twilight of the dezert. Anyways my fracture isn’t that bad kind of goes with my new bucket hat. Thanks to my beautiful family for my gifts." [via Stereogum]

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Joining forces for the new uplifting track, G Flip and mxmtoon are sharing new empowerment anthem ‘Queen’, produced by Rostam Batmanglij. "'Queen' was written about the strong women around me, the queens that raised me and the queens I’ve met through my years,” G Flip explains. “My idea of a queen is not necessarily linked to gender; queens come in all forms and walks of life. To me a queen embodies power and strength; they embrace all they are fiercely yet gracefully. The song was written one sunny day in LA, I was chillin on Rostam’s lovely white couch and he turned around to me and said ‘how about we write a song about Queens’ and I replied with ‘F@!K yeah!’. I’m also super stoked to have mxmtoon on the track with me, she is an absolute queen. I first was introduced to her when I was trying to find ukulele chords to a Khalid song and found her cover on YouTube years ago. She makes awesome music and her voice has such a cruisy timbre to it so I was thrilled to have her jump on 'Queen' with me. She is also an avid croc lover and part of the LGBTQIA+ community, so obviously it just made sense!” mxmtoon adds, “So happy to be a part of ‘Queen’ with G! she and Rostam were such a joy to work with and so so much fun to collaborate with on creative as well. I’m so glad that it’s still possible to make art and music with someone even when they’re on the other side of the world, and I’m lucky that I got the opportunity to feature on G’s song. ‘Queen’ is a power anthem for any person, and I’m so excited for people to love it as much as we do!” [via DIY]

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With her hotly-anticipated new album Magic Mirror out now, Pearl Charles gave us our latest teaser of what to expect earlier this week, sharing new glitzy bop ‘Only For Tonight’. “‘Only for Tonight’ tells the story of a currently bygone era of wild nights out on the town - the highs and lows of one night stands and the crashes of the morning after,” she explains. “The music video, directed by Bobbi Rich, leans into those excesses, paying a sparkly homage to the late-night musical television shows of the 70’s, from Soul Train to The Midnight Special, as well as the gauzy, Vaseline’d lens of ABBA’s music videos. With an added sprinkling of VHS special effects, you’re likely to feel like you’re watching a home-taped recording of a lost episode of Top of the Pops.” [via DIY]

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Alt-pop trailblazer dodie has shared her new single 'Hate Myself' in full. Everything the songwriter touches seems to turn into melodic gold, with her debut album Build A Problem landing this Spring. Out on March 5, it's led by new single 'Hate Myself', which made its bow as Annie Mac's Hottest Record In The World. It's an apt title, with this instantly-viral moment offering an "inner monologue" that touches on some of dodie's inner-most feelings. The song depicts "someone who seems to find themselves in relationships of any kind with people who deal with their feelings internally - unfortunately resulting in assuming the issue is with them." dodie co-directed the video alongside Sammy Paul, shooting at the Cornish seaside village Polperro. The pair "excitedly landed on the silly idea of the training leading up to becoming a post-lady, and thoroughly enjoyed planning the many bizarre exercises she would have to perfect. Our excellent Art Director, Louis Grant, worked on bringing her home and training station to life. Though jogging on cliff tops in the rain, carrying a large sack and slipping in the mud was certainly cold and exhausting, I think I preferred it to slowly feeling sicker, licking stamps on a swaying boat by the Excel." [via Clash]

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Berlin-based indie five-piece People Club are back with new single and video 'Francine', following on from their last release 'Lay Down Your Weapons', which focused on police brutality. The new single 'Francine' tackles the topics of addiction and lovelessness. In the words of the band: "The song speaks from the voice of a lamenting partner whose lover (Francine) is helplessly addicted to drugs. Francine lost interest in her relationship with the narrator a long time ago. It's a song about commitment and how love can fade away leaving only wickedness behind." Regarding the visuals, the band said "The 'Francine' video is a play on the old idiom of 'being your own worst enemy'. A phrase which quite beautifully captures the inner critic which we know so well, especially during the course of the pandemic - we've had to learn to each give ourselves a break. The video was shot in the depth of the harsh Berlin winter, in the depth of the pandemic." Director Felix Spitta added "I love the band and I love the different personalities. It is always heaps of fun working on creative output together. Riding through Berlin only with bikes and all the film equipment in the freezing cold almost felt like a masochistic idea from Saxon. It's inspiring to be surrounded by so many creative minds.”

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Pale Waves are back with 'Easy', the third single to be shared from their highly-anticipated second album Who Am I?. Lead vocalist Heather Baron-Gracie describes the new track as "a song about how love can change your whole entire perspective on life itself. It’s saying ‘being in love with you is so easy, you finally make sense in my life because nothing did before'." The new single is accompanied by a James Slater-directed video that shows Baron-Gracie performing at a Tim Burton/medieval-style wedding in an abandoned church. Baron-Gracie adds, "I wore a wedding dress throughout and we shot the video in an old abandoned church. I’m really inspired by the gothic medieval aesthetic and at the time I was thinking of the video I was watching a lot of Tim Burton films whose creativity really inspires me." Pale Waves' second album will follow their 2018 debut LP My Mind Makes Noises. Baron-Gracie says of their upcoming album, "For me, music and art is for people not to feel so alone and isolated. I want to be that person my fans look up to and find comfort in." [via the Line Of Best Fit]

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The official video for Zoe Wees’ new single, 'Girls Like Us,' is online now. Like the song, the clip sends a message of togetherness and solidarity to girls around the world who are feeling the pressures of society. Zoe Wees says, “It’s not always good to think about how you look to the rest of the world. It’s much more important to think about how you feel inside. It is not easy to call yourself beautiful but being confident helps you to accept and love yourself.” The 18-year-old Hamburg, Germany-based artist adds, “We’re walking through a world with blinded eyes. At the end of the day, we all go to bed without make-up with the ugliest clothes and wake up with the messiest hair on earth.”

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Julien Baker has shared a new taste of her forthcoming album Little Oblivions by way of a new single ‘Hardline’. Julien says, “A few years ago I started collecting travel ephemera again with a loose idea of making a piece of art with it. I had been touring pretty consistently since 2015 and had been traveling so much that items like plane tickets and hotel keycards didn't have much novelty anymore. So I saved all my travel stuff and made a little collage of a house and a van out of it. I wanted to incorporate it into the record and when we were brainstorming ideas for videos we came across Joe Baughman and really liked his work so we reached out with the idea of making a stop-motion video that had similar aesthetic qualities as the house I built did. I don't know why I have the impulse to write songs or make tiny sculptures out of plane tickets. But here it is anyway: a bunch of things I've collected and carried with me that I've re-organized into a new shape.” The video for ‘Hardline’ was directed by Joe Baughman, who notes: “Man, even after having spent 600 hours immersed in ‘Hardline’ and having listened to it thousands of times, I am still moved by it. It was a fun and ambitious challenge creating something that could accompany such a compelling song. The style of the set design, inspired by a sculpture that Julien created, was especially fun to work in. I loved sifting through magazines, maps, and newspapers from the 60s and 70s and finding the right colors, shapes, and quotes to cover almost every surface in the video.”

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Teenage Joans are staying true to their world and unveiling 'Something About Being Sixteen', a new single that's sure to cement their 2021 as victorious. It's the perfect successor to 'Three Leaf Clover' and a track that makes it two-for-two for Teenage Joans, further capturing the excitement and energy within Cahli and Tahlia as they trade catchy riffs and thriving choruses with the combo of light-heartedness and intimateness that seems to define Teenage Joans' work, and how they're able to look in at themselves (and out at the world around them) through a lens that keeps it fun and digestable. "'Something About Being Sixteen' is undoubtedly Teenage Joans' great take on the classic coming of age rock tune, generally closing our live sets with audiences singing along every time without fail," the duo say on the single. [via Pilerats]

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Kate Hollowell took a risk going by the moniker Number One Popstar when she released her debut single 'Psycho.' However, Hollowell didn’t mind if that choice set her up for failure or not. She goes with the flow. Luckily, that mentality has advanced her even farther. Now, Number One Popstar releases her second single, 'I Hate Running.' New Year’s resolutions are, most of the times, created for the wrong reasons. It’s also no surprise that majority of people’s goals center around exercising and weight loss. 'I Hate Running', however, challenges that mindset, satirizing the toxic nature of exercise industry and diet culture. Hollowell said herself, “The song explores facing the hard, emotional work instead of the physical. I really don’t enjoy running, and I wanted to troll the exercise industry and write an anti-motivational song.” In terms of sound, 'I Hate Running' shares similar vibes to her first single with its classic 80s pop of saturated synths. But, this time, there’s a hint of disco with the zealous psychedelic guitar and electric drums and keys. The interludes consist of a symbolic, robotic, and almost sinister snippet from a workout instructor. It all complements well with Hollowell’s escapist lyrics. Even though the lyrics say otherwise, the track’s sound might just spark that motivation to workout or dance, doing mindful movement that makes us feel good. Exercise should never feel like a punishment, and Number One Popstar is here to remind us. She makes us want to stick it to the exercise industry, proving to it that we will only work out for the right reasons. [via Earmilk]

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Alt-pop riser Chloe Rodgers has shared her new video 'The Algea' in full. The Nottingham based talent sparkled in 2020 in spite of the pervasive gloom, releasing two startling singles. Her third release could be her best yet, with 'The Algea' hitting streaming services just before Christmas. The video captures those mid-winter chills, while providing a platform for Chloe to express herself. Constructed alongside creative director Kate Lomas, it was shot at Newstead Abbey in Nottingham. Chloe comments... "I wanted to use a music box in the video to represent being objectified and getting stuck in the same cycles, as that’s largely what the song is about. I wrote the song when I was 18, but didn’t add the verse at the end about claiming my power back until a couple of years later when I felt a bit stronger. We tried to reflect this in the video too with the Chloe in white sort of protecting the other Chloe of the past." Kate Lomas adds: "This was such a joy to watch come together, the video concept is based around the idea that Chloe is the character in a music box, she’s the performer that’s spinning round on an endless cycle for other people’s entertainment. The video tells the tale of Chloe definitely breaking this cycle and no longer playing this role." [via Clash]

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Jaguar Jonze has announced her ANTIHERO EP will be released on April 16 via Nettwerk Records. With the EP announcement, Deena shares the official music video for her latest single, 'ASTRONAUT,' the follow-up to two previously released videos for 'DEADALIVE' and 'MURDER'. Each of the five music videos for the forthcoming ANTIHERO EP will come together through bold-palette videos that transform into an antihero character “in a cyberpunk, anime, futuristic, graphic, almost sci-fi world,” says Deena. Deena adds, “as ‘ASTRONAUT’ delves into my anxiety, I wanted the film to reflect that in a simple way that helped portray how my anxiety can sometimes manifest - a contradiction between feeling lost in vast spaces and trapped in claustrophobic spaces. I had a specific idea in mind, which meant that I had to undergo stunt training with professionals and learn how to maneuver in a wire harness. Most of the video had to be shot in a single take because of the stunts' nature in safety preparation, time consumption, and impact on the body. I'm still recovering from the bruises, but it was all worth it, and the team was amazing in pulling it all together. I'm proud of this one as it is 3 minutes of my rawest vulnerability, visually interpreted. I'm also finally ready to share it.” 'ASTRONAUT' is the sound of Deena liberating herself from a lifelong battle with anxiety. “It is a human trait. It’s how we survive in the wild,” she says. “We’re all wired as humans to be quite anxious. As females more so, because we’re more susceptible to danger.”

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Rising star Mulay shares the smoking visuals for her new single, ‘Antracyte’. It’s the culminating release in a three-part video series from the Berlin-based alternative R&B singer-songwriter/producer/artist, ahead of her highly anticipated EP, which comes out at the end of the month via Groenland Records. Mulay explains about the single, “'ANTRACYTE' is the intro and title track to my debut EP. It’s the soundtrack to the birth of a villain and captures the moment of complete honesty to yourself about the awareness of doing wrong by the ones you love while feeling the inability to turn around. It’s about the desire to taste forbidden fruits, to cross and explore what lies beyond the line and the self-empowering feeling of playing by your own rules defeating the fear of consequences and the power of moral concepts. 'ANTRACYTE' tells a story of contradicting emotions, a story of love, lust, pain and a longing for more. It’s about facing your own darkness and sins, about self-revelation, emancipation and about paying its price, resigning to your fate.”

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Only a band like shallow pools could make a blast of 'ice water' sound refreshing and necessary in the dead of New England winter. But the Massachusetts indie-pop group is usually pushing against the current of what we’d normally expect, and now the quartet hits us with a dose of cold reality through their new single and video. 'ice water' is a vivid new single that confronts the mental health struggles brought on by quarantine and isolation, and even the shallow pools aesthetic has reflected this by shifting from bright glowing neons to a more subdued color palette of beiges and browns. Call it a sign of the times, and call 'ice water' the sound of now; upbeat and jovial on the surface, a comet of pop smarts and hooks, but with the darker shine that resides in our lives when we’re positioned away from the screens and digital scenes. As Glynnis Brennan sings “Every day’s the same and / There’s no breaking out / Like I’m stuck here / Going through the motions now” well, we feel that. shallow pools describe “ice water” as “a departure from the music we’ve made in the past, but it’s the perfect bridge between our old and new sound.” That is certainly the case, and 'ice water' continues to showcase the group as one of New England’s sharpest, following a string of 2020 singles that included pop standouts like 'Haunted' and 'Afterlight'. “We wrote the song with our friend and producer, Chris Curran, and learned a lot about the type of music we want to be making in the process,” the band adds. “The song is about the impact that the state of the world has had on our mental health, specifically in the last year. We’re excited to share it and hope that anyone who has had similar experiences will find some comfort in knowing that there are others who can relate.” [via Vanyaland]

#videos of the week #simpson #lana del rey #g flip #mxmtoon #pearl charles #dodie #people club #pale waves #zoe wees #julien baker #teenage joans #number one popstar #chloe rodgers #mulay #jaguar jonze #shallow pools

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atplblog · 16 days ago

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dustedmagazine · 3 years ago

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Richard Youngs — Blue Thirty-Nine (Blue Tapes)

blue thirty-nine by Richard Youngs

As the current millennium came into its own, the sonic sub-underground birthed a plethora of micro-sized labels focused on the once-maligned cassette tape. Stunned, NNA, 905 Tapes, along with many other imprints, created their own unique mythoi and artistic sensibilities based around spools of magnetically coated plastic. It was in this flourishing era that UK resident David McNamee started Blue Tapes. Launching with a cassette from Toronto-based musician Matt Collins (Ninja High School), the label quickly established a singular visual aesthetic based on McNamee’s own hand-crafted art. Since then, the label’s roster has diversified wildly, featuring artists as varied as Tashi Dorji, Katie Gately, Ratkiller, and Trupa Trupa. Carefully assembled by hand, each Blue Tapes release is an object of beauty, both sonically and visually.

The 39th entry in the Blue Tapes canon features perhaps the label’s most high-profile artist. Richard Youngs barely needs an introduction to Dusted readers, having been active in the UK music scene since the 1980s and producing some of the most striking outsider folk and rock albums in the modern singer-songwriter vein. His signature yowl, which exists somewhere on the spectrum between Nick Drake and Robert Wyatt, is instantly recognizable. While most listeners associate Youngs with guitars and verses, there is much more on offer. His oeuvre covers a lot of territory as he often strays from traditional songcraft, venturing out into more challenging terrain. Some of his music is downright noisy. He is such a prolific and eclectic artist that many music writers have quipped that no Richard Youngs album sounds like another, but they all sound like Richard Youngs albums.

Blue Thirty-Nine is one of Young’s conceptual song cycles, where he establishes a mode of operating and creates profoundly elemental works of art. In this case, he utilizes a seven-string guitar laced with nylon strings, his voice, and a tape machine. Through the magic of tape, he dissolves his own voice, layering the foundational resonances and articulations to create symphonies of mouth sounds. If this comes across as downright strange, it is at first. Then, the buzzes, hums, ahs and ohs coalesce into a language of their own, a series of incantations that exist at the intersection of minimalism and tone poetry.

Youngs accompanies these verbal sound clouds with delicately plucked and strummed guitar. The nylon strings don’t have the brashness of their steel counterparts, which softens the attack and lends a sense of intimacy to the songs. Each of the four extended pieces plays with the established conceptual framework in its own way. “Sudden Thoughts on Slow Insurrection” and “Moon Thing” are sprightly folk ditties, each with its own idiosyncratic attitude. The other two pieces are syncopated and strange, but deciphering their unique lexicon is a worthy exercise. Once again, Youngs has managed to create an album that stands apart from most of what he’s done before, but Blue Thirty-Nine is undoubtedly a Richard Youngs record.

Bryon Hayes

#richard youngs #blue thirty-nine #blue tapes #bryon hayes #albumreview #dusted magazine #seven string guitar #experimental #abstract #drum loops

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anantradingpvtltd · 2 years ago

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juliaisabellphoto · 4 years ago

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My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist.

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did.

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her.

Chris Stapleton, Starting Over

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love.

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece.

Mac Miller, Circles

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever.

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out.

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best: “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do.

Halsey, Manic

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off.

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent.

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020.

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them.

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers.

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.”

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions.

Miley Cyrus, Plastic Hearts

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan.

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals.

Empress Of, I’m Your Empress Of

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship.

Tame Impala, The Slow Rush

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion.

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance.

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album.

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more.

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo.

Also worth mentioning:

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather

J Balvin, Colores

Kelsea Ballerini, kelsea

Dominic Fike, What Could Possibly Go Wrong

#music #2020

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