#Slave lp

[alphaomegamutt]

“Long time no see brother, how was the trip?“ The younger prince, Nasim, asks his big brother.

“Life-changing, to be honest.“ The crown prince hugs his little brother. Under the façade of joyfulness, its true slave self only thinks about how this younger prince would be a great conquer for the master.

"Wow, you have bulked up a lot of muscle since you've been gone, big bro. What's your secret?" Nasim was surprised by the amount of muscle on his brother's back when he wrap them in for a hug. A muscle from torturous hours of hard work the master has put all of his slaves through that the people of their position would never experience. But just like their crown prince, their day would come soon enough.

"Of cause, buddy, but before that, I would like to introduce you to my new guard, Badi, and soon to be yours, Mo." the crown prince looks to two huge men on both of his sides. The men stay still on a parade rest.

They are X-3 and XP-0001, a super soldier slave created in the master's lab. Their real purpose is to be here and assist LP-0008 on taking over the kingdom.

"What? But I already have a gu-" Before Nasim could react, his brother's bodyguard jump onto him and pin him down to the cold marble floor of the crown prince's palace with an unhuman speed and force. He tried to cry for help but unbeknownst to him, everyone in the crown prince's palace is now enslaved to the master and won't acknowledge his plead.

LP-0008 approaches its former brother, soon to be remade anew from brother by blood as a brother in enslavement. LP-0008 takes off its clothes and façade character to reveal the mark of its owner showing its true loyalty and identity proudly. Its always erect sheathed dick jumps free from its confine. In its hands are VR goggles with a mask attached to them. It looks like a normal workout training mask from the outside but the interior is equipped with a long and thick dildo. LP-0008 places the goggle on its prey's face. The goggle make a contact with the young prince's temples sending a pre-set command to his body. His throat relaxed and his body goes limp. LP-0008 then forces a foot-long dildo into its victim's throat. X-3 and WP-0001 release the prince and get naked as its brethren slave.

As the goggle establish the connection with the master's mind control power, the three slaves begin forcefully strip Nasim of all his clothes, revealing his muscled body that will be pushed even further beyond its limit after the enslavement is completed as his older brother has gone through.

As the connection is made, the brainwashing immediately begins. Every fiber of Nasim's body flex with the master's power taking over his mind. His back arches up into a magnificent curve, which signals LP-0008 to shove the same-size dildo into Nasim's virgin asshole. LP-0008 begins to suck Nasim's dick as the master has trained him while Nasim's mind is being completely rewired his loyalty, love, devotion, obedience, pleasure, and pride are all direct to only the master, and the act of service and submissions to him.

"I ACCEPT THIS AS MY ABSOLUTE TRUTH. EVERY FIBER OF MY BEING BELONGS TO THE MASTER. MY LOYALTY AND OBEDIENCE TO HIM RULE MY BODY AND MIND. SERVING HIM IS THE ONLY PURPOSE AND PLEASURE OF MY LIFE!" Nasim repeat the mantra that all the slave in the palace has come to know very well. Soon it'll burn into his mind as the only principle that guides his life just like the other slave.

Driven by an eagerness to obey its master's order, LP-0008 dutifully and tirelessly sucks Nasim's dick until sunrise, like a good slave that the master has forged it to be. Nasim also chants the mantra all night long, its echoes in his mind and dominates his thoughts which will leave a permanent mark on them.

X-3 and XP-0001 begin working on Nasim's tattoo on each of his chests, now marked with the master's emblem, and its real name, LP-0009, has completed its process. It releases its free will in an endless string of cum, Its brother, still attached to its cock, gulps it all up and savors every drop of the sweet sweet taste of submission.

After LP-0009 has been purged clean of its free will, LP-0008 removes the goggles. It rises up and gives other slaves a tongue wresting kiss and gives each other a stoking grip of their dick sheath, followed by a worship kiss in the master's insignia over their heart as a slave's custom, drill into it by its master.

LP-0009 can't return the favor to its fellow slaves with its hole. The master has reserved its virginity with the butt plug deep inside it. So LP-0009 takes X-3 and XP-0001's foot-long dick into its mouth while burying its own sheathed dick deep into LP-0008's gut. Their sweaty body from sex and the strain of brainwashing interwind together. They relish and worship each other strong musk on their bodies and pits which signify the strength of their obedience and dedication to work hard for their master.

Prince Nasim leaves his brother's palace with his new bodyguard, soon his own palace staff will have some reorientation after.

Other people who don't know better would assume that the brothers are partying in their palace just like in the old days, unfortunately for their kingdom, their old days are numbered, as more and more slaves are added to the master's dominion.

[battik-r33n]

YOU WILL LOVE EACH OTHER.

[a-little-revolution]

How would you make dwarfism exist in fantasy without making it ableist? I was gonna have one of my characters be a witch with dwarfism so she isn’t an elf or w goblin or anything like that but I’m not sure?

Hello! For dwarfism to exist in fantasy without being ableist, a few things need to happen:

Firstly, make sure their dwarfism isn't what makes them mystical. Instead let their special powers (witchcraft in this case would be great!), culture, or world do the work. Little people were mystified by the slave trade for hundreds of years, it fuelled freak show culture and still lingers in the stigma of today.

Do not make dwarfism it's own race. You want to avoid tokenism and disabled segregation. Include your Little characters in your race of humans and humanoids (whether that be witches, pirates, centaurs, etc.).

Don't give your Little People gnome or goblin-like traits. Goblins have a rich offensive history within multiple marginalized groups, and create a grotesque depiction of LP. Gnomes follow folklore that came to be when mystifying little people in history. Not to mention, both have been overdone.

If you're going to write dwarf characters, GIVE THEM DWARFISM. Do your research - it's not enough to make your characters short, you must give them the characteristics of their dwarfism. If you're going to use the name dwarf do your research.

-Elliot (they/them)

[al-astakbar]

☆ The Gift -- Thrawn x reader ☆

> title ☆ The Gift ☆ part 2/?

> summary ☆ As congratulations for his recent promotion to Grand Admiral, Emperor Palpatine gives Thrawn a gift -- a young woman who has been trained as a pleasure companion.

> pairing ☆  Thrawn x reader ☆ word count [3.8k] ☆ warnings for this part ☆ brief sexual language ☆ series warnings ☆ dubious consent; sexual slavery; concubine/ sex slave AU; will add more warnings as more parts are posted

>series navigation ☆ part 1 ☆ part 2 ☆ part 3 ☆ part 4 ☆ part 5 ☆ part 6 ☆ part 7

> posted on ao3

author note!! To be very clear, in this story reader is a concubine against her will and is gifted to Thrawn, but there is at no point any noncon between Thrawn and reader. Reader is never noncon with anyone, either referenced or explicitly, and there is never any explicit noncon. However, this is a darker take on Thrawn and he doesn't really have many hangups about putting his gift to use...

Neither Mirri nor Solis know where his shuttle is, and one did not stop a Grand Admiral as he was walking away to ask for clarification about something so trivial, despite you elbowing them to do just that.

They walk you to the turbolift, and just before you get on, an aide comes up and gives directions. Landing platform E-52. The lambda class shuttle. The aide leers at you openly, and wonders to his superior officer, “what do I have to do to get one of those?” 

The Commander snorts. “A Prasad?” the formal term for the type of trained, indoctrinated pleasure companion popular among the Empire’s elite; you are surprised he knows it, though any good Imperial citizen would recognize what you are just from the distinctive robes. “Gain more favor than you’ll ever hope for in a lifetime. Or make friends with someone who’s got one. I hear they share the best ones around. Get invited to the right party and all you’ve got to do is wait in line for a turn.” 

You stiffen and stumble, nearly managing to turn towards the two men, with no real plan of what you might say. Mirri catches you. 

“Do you think he’ll be-- he’ll be nice?” You ask in a small voice once the lift doors have closed. Or at least gentle. Mirri and Solis do not answer. The walk to the platform is quick, just a short ways outside through more elegant, richly appointed halls. These ones have hanging gardens, trailing vines and foliage beneath a huge glass ceiling and bursts of flowers, the entire floor a mosaic of millions of black and white stones. You try to dawdle, slowing your pace to spend just a little more time. Given to a Grand Admiral, you will likely spend at least the next six months in space, on a warship, and you don’t know when you might be planetside again, let alone on one with greenery.

But Mirri and Solis lead you through it too quickly, and after a short walk, you are there on LP E-52.

Private platforms such as this one have small, luxurious waiting rooms, so that the senator or whoever is being flown that day does not have to wait out in the elements. Mirri and Solis choose not to use it, and you know they would have happily made you stand there in the wind, until you are bone-chilled and shivering despite the bright Coruscant sun.

Luckily-- one small mercy on this day-- the Grand Admiral arrives within minutes, walking ahead of a small contingent. 

Nausea has been a constant, rising bloat in your stomach since walking into the throne room but now it threatens to overwhelm you. A wild, horrible thought comes to you, that maybe if you’re quick enough you could run for the edge of the platform, and just be… done. But you know it wouldn’t work. There are safety measures. Systems of repulsor barriers and simple old fashioned nets to catch people in case of falls or accidents. 

“Be sure to mind him,” Mirri whispers to you harshly. 

“The last nine to be presented before you all went to lower ranking officers or minor dignitaries—“ Solis says. 

“And all were better behaved than you.” Mirri’s tone is venomous. 

Then they both step back, bowing deeply to him, and you stand alone. Strong winds buffet the platform, whipping your robe against you like a sail. 

Instead of his aide approaching you, the Grand Admiral himself advances. Up close, he is even more imposing of a figure, his bearing imperious and assured, his skin unmistakably blue and his hair sleek blue-black, like indigo. In this light, he looks magnificent, a paragon of an Imperial officer. His uniform is blindingly white, gold shoulder bars, silver collar insignia, and code cylinders glinting brightly, the broad expanse of his chest interrupted by the large rank plaque. The jodhpurs and black jackboots only make his legs look longer-- most Imperial officers you have seen do not carry off the look so well. 

You have heard of Gifts kneeling when presented, and always thought it was stupid, but the urge to sink down in front of him pulls at you now. Somehow it would feel so natural. Just the idea of it feels traitorous to everything you believe.

“Come,” he says, bringing one white leather-gloved hand from behind his back to gesture for you to walk beside him. He is stern, but not hurried. He is a Grand Admiral, meaning everyone else bends to his schedule and never the other way around. A cadre of four black armored death troopers fall in step behind— they must be his personal guard. You gawk at them a moment too long, turning your head to look over your shoulder, then the Grand Admiral’s hand is at the small of your back. 

“Watch your step,” he murmurs, a second before you trip— the hem of your robe, the uneven surface of the boarding ramp, or both— and he catches you, sets you right. 

“I’m fine, I don’t need help,” you say sharply, even as your cheeks burn with embarrassment. 

He lets you shrug off his assistance with another quiet word. His accent is like nothing you’ve heard before-- not that you are particularly well traveled-- but it certainly isn’t from any Core world.

“Where are we going?” you ask, feeling strange and a bit guilty for wanting to hear him talk more. 

Once you, the Grand Admiral, the complement of troopers and a handful of aides are inside the small loading bay, the ramp closes with a prolonged hydraulic hiss. 

“This way,” he says. You follow him through a narrow passageway to the main cabin. Unlike the rest of the shuttle, which is drab, Imperial-issue grey, this cabin is furnished with plush leather seats, what looks like a small bar, and a shiny stone surface desk in one corner, all in sleek black and white.

The Grand Admiral motions courteously for you to sit, while his aide, a pale, light haired young man in an olive-drab lieutenant’s uniform takes a post standing by the hatch you just came through. 

“I meant-- are we leaving the planet? What system are we going to?”

At that moment, the shuttle’s engines kick on, and light streams into the cabin as the wings unfold while the craft slowly lifts off and rotates. Strange. From the outside it looks like the only transparisteel on the shuttle is around the cockpit. 

“Yes,” the Grand Admiral says. “To my ship, the Imperial Star Destroyer Chimaera. Lieutenant Tyvo, send word ahead for the stormtroopers to begin preparing their cold weather uniforms and kit. And during the next week, have the section chiefs ensure forward chasing tractor beam targeteers run through another training cycle.”

“Yes, sir,” the lieutenant says, and immediately begins typing on his datapad.

The Grand Admiral continues speaking to the lieutenant, giving instructions about maneuvers and training schedules and meetings and briefings, and you realize he will not be sharing any more information with you. So you settle deeper into your seat-- much more comfortable than any in the austere cloister where you had spent the past year-- and gaze out the starboard viewport. The city flashes by, spire after spire, growing quickly smaller as the shuttle rises. No waiting in traffic, but of course a Grand Admiral must have his own priority lane. 

“Anything else, sir?”

“No, that is all. Thank you, Lieutenant.”

You look over to find the Grand Admiral standing, as he seems to like to do, with his hands clasped behind his back. He regards you for a moment, cold and appraising, before sitting opposite, and his authoritative bearing makes you sit up straighter. Somehow his starched white uniform doesn’t wrinkle. “What is your name?”

The question gives you pause. It is customary to only speak a companion’s given name in private. “They didn’t tell you?”

“I would like to hear it from you.”

He does not seem cruel or pushy, and that unbalances you. With less reluctance than you feel you ought to have, you quietly give him your name so the Lieutenant can’t hear, and then ask his. 

“Mitth’raw’nuruodo,” he says. “But you may find it easier to call me Thrawn.”

You repeat his name with a small nod. “Thrawn.”

His glowing red eyes do not have pupils, and though you can’t tell quite where he might be looking, you feel the weight of his attention pinning you down nonetheless.

You feel your face grow hot. Is he going to have you here, now? It would be well within his rights. He is entitled to anything— everything. The thought makes you squirm with anger and… something else hot and deep in your chest you can’t give a name to. 

Quickly, you pull your gaze down to your lap. Demure, as you had been taught. “Sorry,” you mumble.

“For what?”

“Staring. You probably get stared at a lot.” Hold your tongue. Mirri and Solis would have seen that you were punished for this impertinence. There had been one girl who had been with you, retraining after her first master had been terribly displeased with her. At least, that is as much as you could glean. He had removed her tongue before sending her back, and the threat of having all her teeth pulled out too kept her obedient. 

Thrawn raises a blue-black eyebrow. “Indeed.” 

For a time, he says nothing more, but studies you closely. His eyes seem to roam over your form, and you feel somehow naked, exposed for his discernment. You watch him back, thankful for your veil once more, studying his face. His features are even, well proportioned, though severe, and his dark hair slicked back from a widow’s peak makes him distinguished. Perhaps he is considered handsome among his people. The third time he catches your gaze, you get the distinct sense that he knows exactly where you are looking. 

There is a definite hunger in the way he watches you, intent and completely still. As if waiting for you to act first. The tiniest movement. You exhale slightly, and it makes the fabric covering your face flutter. 

Caught again. 

“Remove your veil.”

You jerk at the order, and in a split second of gut instinct, almost obey, such is the authority in his voice and bearing. Thrawn’s aide gives a start too, fumbling the data pad he’s holding. 

“Give us the room, Lieutenant,” Thrawn says without looking away from you, and his aide hurries out. 

Thrawn rises, unfolding his long limbs gracefully, and crosses to you in two steps. “My apologies.” He stands at his full height, broad shoulders square and hands behind his back. It gives him an infuriating air of calm superiority. And still, you can’t shake a foreboding sense that he is very, very dangerous, and not to be crossed. “It is customary for those of your position to remain covered at all times, except during… intimate situations. Is it not?” 

“Y-yes. Yes sir,” you say, relieved that he understands. 

A beat passes, and then he prompts: “we are alone now.”

You feel your face heat at the implication. “I don’t want to.” 

His mouth presses into a thin line. “That is of no concern to me.”

“I don’t want to kiss you.”

His red eyes gleam. “It was not a request.” 

You stand up, meaning to move away, but it only puts you closer to him, and his height dwarfs yours. “I don’t want to lay with you!” 

“Is that what you imagine necessitates showing your face?” His voice drops to nearly a whisper, full of dark promise. “When I fuck you, it need not be so personal.”

At that, your heart thuds in your chest. 

Before you can think it through, you try to slap him. He catches your wrists, dispassionate and unflinching as you struggle against him. “Enough. There will be no need for…theatrics. I was given to understand that those of your Order are all volunteers. Is that not true in your case?”

You can’t help your wide-eyed expression. It is an open secret that many young men and women were pressed into this sort of service, and your Order is no exception-- but nobody spoke that secret aloud. And it certainly wasn’t brazenly stated by an Imperial Grand Admiral to his new companion. You nod in confirmation, hoping that this isn’t some sort of trap or game to get you to admit something he could punish you for.

“I see,” he says, considering for a moment. “Then, you have a choice to make. An unwilling partner is of little use to me.”

You wrench against his grip, but it’s futile. “Oh so I guess that makes it all right then. You don’t want to— to fuck me but you’re going to anyway,” you say hotly. He doesn’t rise to the accusation, merely waits for a beat, allowing you to continue. When you say nothing more, he speaks. 

“As I said, I would prefer your cooperation, but it is not required.  However, there are… complexities… to our situation. Our Emperor—“

“Your Emperor.”

“--Will expect me to fully enjoy the gift he has given me. This is not in question. He will know, if I do not take you to bed. I have no intention of slighting him by refusing his generosity.”

“But how would he know! Couldn’t you just tell him that you have?”

“No,” he says, his voice cold and soft. 

You stare at him for a moment, breath catching suddenly at how close you are, and then you start struggling again. “Let go of me!” 

His hands tighten around your wrists like shackles, squeezing so hard it feels like your bones grind together. 

“Please!” A note of panic, breath tight in your chest. It had been your last, foolish hope that whoever you were given to would be understanding, would find the whole practice barbaric. “Just let me go, pretend I ran away, just leave me somewhere!”

Thrawn, evidently, is not that person.

“Think,” he presses, red eyes flashing with impatience, though he reins back in to calm just as quickly. “Under what circumstances might you leave my service?” 

It takes a moment for you to realize that this is not a rhetorical question. Most of the time Mirri and Solis had considered answers to such questions as just another form of backtalk, worthy of punishment.

“When I ask you a question, I expect an answer,” he says, rather sharply.

Another trap? You try to gather your thoughts, calm your breathing, but your pulse is wild with high emotion, and your voice shakes. “I could… run away.”

“Yes. What else?”

You draw in a deep breath, and smell the starch and wool of his uniform. “You could let me go.”

He nods but stays silent, expectant. A third option? You frown, then venture: “someone else takes me. Without your permission. Steals me away.”

“Indeed.”

Your mind flashes to the ones who were returned broken and maimed. “I could misbehave,” you say, with a touch of defiance. 

“Yes, you could,” he agrees. “The circumstances of you leaving my ship would be altogether unpleasant, but more so for you than for me. You are a gift that cannot be refused, so your removal would be necessitated by your own behavior. Now, what do you imagine the consequences would be like?”

You swallow thickly and shake your head, unable to find the words.  

“At best, placed with somebody else with less concern for your… consent. At worst…” his voice trails off, letting you reach the obvious conclusion silently. 

He is right, which is all the more infuriating to admit because of the matter-of-fact way he had stated it. Gifts who came back were, if deemed ‘salvageable’, subjected to months of remedial conditioning and then reassigned, almost always to someone less desirable than the previous recipient. Lower ranking, or particularly hideous or cruel. It was whispered that there was one Outer Rim Governor whose appetite for a fresh face had been the demise of at least four Gifts. 

“There are functions, too,” he adds quietly, with just a hint of something in his voice that you imagine to be embarrassment or reluctance, “ that I will be expected to attend, with you by my side.” 

“And by functions you mean…?”

“You might call it a party. Others who have been recipients of the Emperor’s goodwill would also be there, with their gifts. We will be… observed.”

He waits for that to sink in. 

No… You have an idea of what he means, and it makes your blood run cold. 

“It is imperative that we demonstrate our appreciation of His generosity.”

Your stomach turns. Not quite ready to confront the reality of what he’s telling you. “Can’t you just send a ‘thank you’ holo or something?”

He remains silent.

“How… how many people?”

“Hundreds.” 

“Hundreds…” you repeat hollowly. “Observed… doing what? Having dinner together? Do you fuck me right there on the table between courses or could we get away with waiting until after the meal and finding a dark corner?”

Thrawn says nothing for a moment, just gives you a rather irritated look. “Understand,” he says flatly, “that I did not ask for you. You are a distraction.”

You have to swallow down the insult of this rejection. 

“Then leave me at some spaceport. Outer Rim, I don’t care.” You say, voice cracking. One more try, even though he’s already convinced you of the futility of it all. 

“I did not say I don’t want you. But— as I said, I cannot. If I let you escape, I show incompetence, and lack of control over those in my care. If I let you go, it would be seen as rejecting the Emperor’s goodwill, disobeying his command, even.”

It clicks in your mind, then. If you do not give him a certain degree of cooperation, it could hurt his career and reputation— whatever that might be. He is concerned enough to mention it, though his attempts to cajole you into compliance so far have been baffling. This strange Grand Admiral claims to have no regard for your wishes but he is actually trying to convince you instead of ripping off your clothes and holding you down. He’s taken the time to explain it all and seems to want you to understand his reasoning.

You take a deep breath, trying to slow your heart pounding. Thrawn still holds you close, and he is so tall his rank plaque is just above eye level for you. 

“The embroidery on your robe and veil — tell me about it.”

This catches you off guard. “I—it’s part of our traditional— I don’t know what to call it. Our uniform, I guess. It’s added during our Vigil.”

“It is very fine work.” He sounds intrigued, and picks up the hem, holding it closer to look at and brushing his thumb over the stitching. “And the other two with you before, their garments had similar work to yours, also done in the same type of thread,  though not as intricate. The motifs were simpler, and the execution… adequate. This was done with great skill and care.” He grasps your wrist in such a way as to closer inspect the embroidery; it draws you clear to him so you are pressed against his body. You squirm, knowing he can feel your breasts against him, as you can feel his heavy belt, and that he’s half-hard and hot against your stomach. 

“Be still,” he murmurs, making no effort to conceal his arousal.  He takes a few more moments examining the work, then lets it fall.

“Now,” he says. “Will you remove your veil?”

With a cooler head, you realize he had done nothing to punish your outburst, nor any of your other little jibes. Stars, you had tried to hit him and he hadn’t even been angry about it. This doesn’t mean you’re safe with him. Doesn’t earn him even a little trust. But for now, it seems wise to acquiesce. This will be okay, or at least not so bad. He will not demean or abuse you. And he is right. There is no good way out of this, for either of you. 

Heart pounding-- no one outside the cloister on Coruscant has seen your bare face in over a year-- you sweep the fabric up and over, so that it trails down your back as if you were a bride. The change in light makes you blink and squint for a moment. Thrawn leans forward, as if he can’t help himself, and strokes a lock of your hair off your face. 

You try not to flinch away from him, nor to let any emotion show.

But he traces his thumb over your lips and you feel a hot prickle of tears that you can’t hold back. It would almost be easier if he were cruel. 

“When they train you,” he says, voice dangerously quiet, “do they fuck you?” 

You feel a pulse through your core at his question, and immediately shove the feeling down. “Why? You don’t want someone who’s been used before?” Mouthy again. His expression stays mild.

“Previous experiences do not concern me. I only wish to know what your training entailed.”

“No. They don’t. In most cases the recipients want to be able to be the first, you know, to be in control of…that.” You finish lamely, a vivid blush creeping up your neck. 

“It is believed the recipient will wish to shape the desires of his companion,” Thrawn offers. 

“Yes. Not because of anything like— like purity.”

He takes a moment to consider this, then asks, “are you pure?” 

You blink, meeting his eyes, and immediately regret it, as you feel tears well up anew. You quickly look aside, and can see the dark edge of space out the viewport, just where it meets the muddy orange-gold of the atmosphere. “No,” you say, then look right back at him, lifting your chin. “Are you?”

One blue-black eyebrow goes up. “No.” 

Then he lets you go, saying nothing more during the ride except to direct your attention to the Chimaera on approach. It is a magnificent ship, and you press against the transparisteel trying to see more of it, though its bulk quickly fills the entire view. On the underbelly of the ship is painted a huge, stylized chimaera, twin heads crossing over the wedge line. You have to restrain yourself from asking him a million questions about everything you see as you pass beneath the bow and into its massive shadow. 

An escort of four TIE fighters sweeps in to escort the shuttle to the hangar bay. The distinctive high roar of their engines is somehow audible inside the shuttle. You had never understood that, though admittedly your knowledge of physics and space travel is limited. You almost ask Thrawn. He would know, and he is still standing quite close to you. You can feel him at your back, watching the same panorama, and the one time you brave a glance over your shoulder at him, his gaze is distant and his expression inscrutable.

☆ link to part 3 ☆

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[ikaakmak123]

Si Pmpuan brtdung brnama NA lebih krg hmpir 6thn bersama ak dan selama ITu juga dia yg telah ak anggap sbgai isteri dan tiap kali brsama hal wajib ialah jalani hbgan suami isteri dgn mnkmati sex. Slma hmpir 6 thn itu Aku jdkan dia sbagai slave wife ak. Sjak dia brsama ak bru dia tahu Dan mcuba adengan sex bdsm/bondage yg mana Aku mahu dia slmanya mnjdi slave Dan ak sbgai Dom nya.. ade Hari Kami tukar2 posisi krna sjak dgn ak betina ni suka rogol ass ak...

Igt Lagi Hari prtama Kali ak mula ikat tgn kaki si dia, spnjang masa mrayu agar TDK diikat katanya tkot Jwb Aku tok dia xperlu takot ptot nya time dia tmat form5 di kg nya Tu yg mane Ada satu Ari 3laki kwn skolahnya jmpot awal Pg dirumah dgn alasan mahu ke bndr kB dgn alasan mahu g ke carnival .. syg time Tu lah ptotnya dia dah Rasa bila diikat dan di kerjakan Oleg 3 laki skali gus krna ITU paling horny tok dia krn trus 3 kote trus harus dilayan.. skrg yg ikat dia ialah ak yg juga suaminya.. siap ak psan ni tok Kali prtama biar ak sorg yg ratahh sluruh bodynya mmyb next time lps dia siap trikat bru akan ade laki2 lain dlm 4 5 kote akan krjakn nya... Dan selama Kami brsama sex bdsm pic videonya ak amek n smpan if one day dia curangi Aku n time Tu dia siap2 tok trima apa sja..

Ternyata prmainan si betina ttap Sama dlm diam2 Sudah 6 Bulan blkng Aku dia smpan jantan sbgai scndal itu yg kekal dan ada 4 org jantan lain yg kenal shari cuma nk dptkan sex semata2.. jelas si betina brnama NA kaki tukar2 kote.. yg ak gram scndal dia yg da bhbngan slama 6bln n stiap hari NA dibwk blk rmah laki tu dgn niat ratah bahan sexnya..

Nak dijadikan cita NA Dan jntan Tu cuma 2 Kali sex brsama tp Cara biasa2.. tok Kali ke-3 n smpai lah Hari kntoinya NA buat silap bila mane lnggar pesan Aku sominya jgn org lain ikat dirinya sbb 100% pasti Akan dipksa layan lebih Dr 1 kote. Tp NA degil mtk scndalnya ikat dirinya dulu sblm NK mula bwk dia blk knonnya saja try sex yg MCM Tu... Lg best NA sperti slave nakal yg mne bru dijmpot blk kje xmsuk lg di kreta NA da hlurkan set tali2 bdsm toys pada jntan smpanannya.. Dan NA xsmpt msuk kete trus dia diikat ketat di Suma bhgian hngga Di tteknya juga smpaikan jelas timbul bulat.. Di luar kete Kira outdoor LPs diikat NA Di Raba Di dada bntot Dan pepetnya hngga NA mrayu stop n mtk dlpskan krn xmahu main diikat.. ksilapan si betina Aku ni xkan Di Bantu.. trus Di pakai ballgag Dan diikat ketat smpai xblh kluarkan ballgagnya... Jelas pic betina time Tu dpt Aku smpan sbgai koleksi.. Aku dptkan time dia kantoi Aku diam2 send suma pic NA Di gangbang tok smpanan Aku..

Skrg NA dah JD isteri org Dan juga sorg ibu.. Dan Aku xpeduli semua ITU krn dia ttap sbagai SLAVE sex Aku n skrg dah mula marah2 Dan xsuka jika ak mahu lg dgnnya.. xmngaapa .. dia harus tahu "what u give u get back" Aku doa Kan yg dia Akan dicurangi jgk Dan dia ttap Di gangbang laki2 lain Suma dlm diam2.. Dan sominya juga Ada ikat dirinya dgn ikatan kuat Dan xkan dpt dilepaskan tmpa bntuan tnyata laki nya slesai NA diikat cuma skali je dia fuck smpai klimaks Dan kmudian ikatan xdilpaskan malah dibawa ke port bangsal tempt slalu dia leak disitu NA dismbg ikatan ya pada katil bujang dgn posisi doggy.. NA mronta mtk dlpskan tp dia xdilayan Dan rupanya lakinya pnggil pmpuan lain dgn pnggilan k.sya ternyata akk tiri NA.. rupanya diorg ade hbgan sulit Dan cuma buat sex.. dpan2 NA diorg brciom mulut dan siap dipesan agar NA xksah Suma Tu sbbnya apa yg dia buat blkng2 lakinya tahu... Dan sngaja dia ikat NA Di port lepaknya sbbnya Akan Ada bbrapa laki nnti kwn2 sominya sndri dtg utk gangbang NA atas printah lakinya .. Dan NA juga xkan dlpskan myb smpai 4 5 hari... Sesi gangbang xtahu smpai bila sbbnya nnti NA Akan dibwk blk Oleh slh sorg kwn lakinya Dan Akan dikurung dlm blik dirumah kwn lakinya.. mamakala somi NA Dan kak tirinya mahu ke resort utk Bulan madu Dan utk sex semata2 Dan k.tiri NA mahu juga diikat nnti.. sblm kedua mreka tggalkan NA sorg trikat disuruh k.tiri NA goda NA ajarkan dia JD lesbian... Diorg dpt la sex seround NA xnak mulanya dgn ssama Pmpuan bila da Rasa trus JD sedap siap mtk ciom mulut lg smbil tukar2 air liur Dr mulut ke mulut.. kmudian NA diikat Suma mlutnya Dan ditnggalkan. Hampir 2jam juga trikat sorg2. Smpaikan tiba2 ade laki xdikenali tiba2 msuk bangsal itu utk curi apa2 blh tp trus nmpak NA yg super seksi trikat dgn pntas NA dirogol oleh laki td dgn tmpa buka ikatan... Dkat 30mnit juga NA dirogol laki ITU Dan dua Kali pncutan trus ke mulut NA n dipksa telan..slbih air mani itu di pncut pada panties yg ada di skitarnya btl2 basah panties itu dan dismbat dlm mlut NA lalu diikatkan lg best lg tu siap curi panties lengging bra yg dipakai NA n dignti dgn yg lain yg ade disitu... Laki Tu pksa mtk no hp klu xnak pic vid trsbar laki Tu mahu main lg next time tp dirumah laki ITU NA pon BG no nya Dan siap psan dia Akan tggu tok laki Tu culik NA blk rmahnya Dan siap dirncg hal Tu cuma diorg dua je tahu.. NA offer sbb xnak apa disebar.. jnji dia puas kene rogol... Dan lpas2 ITU bru la 4 laki2 kwn sominya smpai xckp byk trus NA dismbar Di lumat Suma skali.. 4 kote trus Di mulanya diisap skali dia kote .. diorg ckp NK pncut dlm la apa Suma NA Cuba ckp smbil ronta tiba2 slh sorg selak skit mlutnya Dan trus dibuka trus NA ckp jgn pncut dlm klu kat mulut muka blh tp kene pksa... Plssss... Jgn la rogol lpskan plss..tp rayuan slave xkan laku... Dan diorg pon mula hnjut isteri kwn diorg.. NA akur saja dirogol mcm2 org.. Lagi pon NA mmng gila kote .. dan layak tok semua Tu.. dlm msa sama dia pon mula suka lesbian.. NA smpat bg voice pada iparnya "k.sya uyu xpuas td.. blk nnti diam uyu nk ajak k.sya bedua main.. uyu xksh klu nk ikat jgk jnji nk laga2 pepet lg... Jgn ckp dgn somi sbb ni tok scene lesbian Kita...bye"

NA dihnjut lebih Dr 8 Kali sblm diorg blk Dan NA yg kakal trikat tp posisi lain dibawa Oleh sorg laki Dr kwn sominya dipakaikan collar gag Dan dismbg tali tok tarik lalu NA ditrik tok ikot pnculiknya... Tiba2 Aku call NA Dan dia trangkat trus dgr sore nya yg jelas trikat ak tnya sapa yg culik Dan mahu VC tok lihat NA xnak tp laki td yg tlg Jwb jelas si NA full diikat sksi.. siap Cuba ckp tok mrayu jgn marah2 dia..Aku Pula trus ckp pada yg culik Pmpuan ni tlg send pic video dia semua pada ak...skrg send..NA lg mronta.. dpt je Suma Tu trus Aku ckp trus culik Pmpuan ni... Good slave layak dicolik ramai2 org... Dan Aku ckp pada NA bgus2 laki dia main k.tiri dia hari2 plak Tu Dan ak tnjuk juga yg mane kwn srumah dia si chunek Dan juga k.ipar NA yg dok KL tgh ade Aku rogol...NA tkjut sbb Aku dpt ipar dia skali jln dgn chunek.. Dan Aku psan Suma Pmpuan yg rapat dgnnya Suma slave Aku..

Dan jujur smpai skrg Aku msih cintalan dia nak fuck dia NK ikat dia.. tp utk nak nikah Tu tak Akan sbbnya dia bkan lg kksih MCM sblm ni lpas dia kantoi trus ak NK dia JD hamba sex Aku selamanya... Sbbnya ade time blh Aku open cri customer utk fuck . Betina kaki kote mmng layak sex ramai2... Btw NA I love u...

#nasukakotr #naslave

[mmmmalo]

Watching a FF6 LP now... I guess Feferi and Jane are straight up wearing the Slave Crown? That's cool

[dustedmagazine]

Dust, Volume 10, Number 8

Orcas (not Oasis)

Welcome to our all-Oasis edition of Dust!

Just kidding. We slog through August bemused by the excitement over big ticket tours, though we will, if pressed, admit to a fondness for “Wonderwall,” a song often sung jubiliantly by someone we love on the way to track meets and XC ski practice and theater rehearsal years ago (though not as many years ago as it first emerged).

Anyway, we once again trawl the slush pile for the good stuff, opine briefly on its merits and share it with you. We’re sure you’ll find out what the Gallagher brothers are up to from other sources.

This month’s contributors included Bryon Hayes, Ian Mathers, Jonathan Shaw, Tim Clarke, Jennifer Kelly, Bill Meyer, Mason Jones and Christian Carey.

Ark Zead — Niptaktuk (Glacial Movements)

The Italian label Glacial Movements specializes in music that’s chilled, immense and slow, just like its namesake. Niptaktuk continues this icy throughline, offering a series of highly resonant, frost-tinged drone passages. The creator, of which no information is known, sourced these textures from gongs and singing bowls, stretching the frequencies into lengthy, subtly shifting tone clouds. They cleverly balance lighter shades against darker hues, layering pre-dawn shimmer over sub-sonic bass pulses. The delicate patter of scraped and stroked metal adds a sense of the real to these otherwise uncanny soundscapes. Ark Zead drew influence from the cold northern Canadian winter when they created these sounds, yet the experience of listening doesn’t evoke frostbite or blinding blizzards. Instead Niptaktuk, which is an Inuit word that implies oncoming clear skies, is a remedy against frostiness, a kernel of warmth that seeks to melt the winter ice. 

Bryon Hayes

The Body & Dis Fig — Orchards of a Futile Heaven (Thrill Jockey)

At this point, at least going by actual releases, surely there are no greater collaborators in heavy music (in all its forms) than The Body. In addition to their stellar work as “just” a duo, Chip King and Lee Buford have at this point collaborated with a real murderers’ row of bands and artists, and those albums absolutely refuse to stick to any particular formula. That they’d work with Dis Fig (aka Felicia Chen), who’s made an excellent, emotionally/sonically challenging record called Purge and sang on a full length by The Bug, makes perfect sense. The result, as with many “The Body &” LPs, is so seamlessly satisfying you’d think this was everyone involved’s main gig. The thunderous drums, harsh noise, and King’s peerless shrieks are all present, and Chen gives a hell of a lead vocal performance to centre it all. The closing one-two punch of “Coils of Kaa”/“Back to the Water” is one of the best endings any 2024 is going to get, Chen wailing in rage and despair as the music collapses buildings around her.

Ian Mathers

Demiser — Slave to the Scythe (Blacklight Media/Metal Blade)

Retrograde throwback thrash isn’t exactly a growth area in metal, or a particularly enlightened undertaking, culturally speaking. But dudes in denim and bullet-lined bandoliers don’t make records like Slave to the Scythe because they foresee mass-market opportunity or stadiums full of fans in the immediate future. Mostly they don’t see much future at all. Demiser seems to share those perspectives — live fast, die faster, have as much fun as possible in the brief and weird interregnum. Is Slave to the Scythe fun? Depends on your sense of humor, and your tolerance for metal’s more reductive shenanigans. The fellows in the band have given themselves stage names like Gravepisser (he plays guitar) and Infestor (he drums), and they have supplied us with the sublime song title “Hell Is Full of Fire”; no points for innovation, but maximum points for unconquerably up-for-it idiocy. Motörhead seems as significant to Demiser as early Exodus and Kreator (especially the genius of Pleasure to Kill). Sort of nice to hear a thrash record that’s more interested in the riffs than the solos. Sort of fun to play this record really, really loud. Sort of certain that doing so results in becoming materially stupider. That’s okay — it makes that aforementioned lack of a viable future a little less awful to contemplate.

Jonathan Shaw

Dummy — Free Energy (Trouble In Mind)

Dummy’s debut, Mandatory Enjoyment, lived up to its title; it was a record difficult not to appreciate. In her Dusted review, Jennifer Kelly praised it as “a listening experience that simultaneously braces and soothes, agitates and lulls.” Dummy’s second album, Free Energy,has a similar appeal, but knocks this listener off balance with its bizarre fixation on dated drum machines and backwards sounds that bring to mind the baggy indie-dance of the 1990s. You know the stuff: Carter the Unstoppable Sex Machine, Jesus Jones, Pop Will Eat Itself. There are some great songs here, such as “Nine Clean Nails,” but you have dig around amongst the misfires to find them. Dummy still have an ear for a good tune, so you can forgive their more questionable aesthetic decision-making.

Tim Clarke

“Father” John Misty — Greatish Hits: I Followed My Dreams and My Dreams Said to Crawl (Sub Pop)

With streaming supplying abundant amounts of playlists, one might reasonably ask why a greatest hits compilation would be useful. Curation instead of algorithms. “Father” John Misty’s Greatish Hits presents the high points in his catalog, beginning with early songs“Real Love Baby” (2016) and “Nancy from Now On” (2012). It is by no means a chronological survey, nor is it front-loaded like so many collections and playlists. The popular “I Love You Honeybear” (2015) is saved for the penultimate track. The finale, “I Guess Time Just Makes Fools of Us All,”  is new. At eight and a half minutes long, it stretches out with saxophone, bongo, and electric piano solos interspersing bluesy pop vocals. Worth the wait - don’t skip ahead!

Christian Carey

Ben Felton A Lot (Island House)

Ben Felton lets the drones linger, layering sounds on top of sounds, like primary-toned transparencies on an overhead projector. You can spend this album watching the colors these tones make when the light shines through them, hitting one, two, three or more guitar/synth textures before getting to the other side. Complex yes, but peaceful, drowsy almost. One track called “A Foghorn or a Loudspeaker,” sounds like just that, an uneasy truce between natural serenity and amplified buzz and hiss. The space it lives in is large and echoey, a cathedral or, more likely, a vast underground cavern with water lapping at the walls. Occasionally, the electronic mode predominates as in the airy percolation of “What You Need.” Yet though the blippy motif is bright and uncorroded, it sits atop a woozy soup of tone; guitar notes crash in sporadically intimating a rustier, more industrial territory nearby. Felton comes from New York but now resides in more bucolic Carrboro, North Carolina. His soundscapes find a meeting place between folk-adjacent ambience and rougher, noisier music. The album gets more propulsive as it goes. Shaken-not-stirred “The Fifth Day,” turns a three-note upward lilting motif into something approaching rock anthemry. You can’t blame the sustained notes for hanging around. It’s nice here, and you want to stay.

Jennifer Kelly

Margarida Garcia And Manuel Mota—Domestic Scene (Feeding Tube) 

Upright electric bassist Margarida Garcia and electric guitarist Manuel Mota are part of Lisbon, Portugal’s experimental/improvisational music scene and have worked together with and without the participation of others on seven records besides Domestic Scene over the past decade. It is their first LP to be released in the USA, and there’s something poetic about that fact, because it feels like an echo of the work of one American musician — Loren Connors, and more specifically, 21st century Connors in solo mode. It shares his sparseness, boiled-down lyricism and willingness to disappear into a haze of noise. Since Garcia has associated with him at times, there’s definitely a shared aesthetic. However, these are not young copycats. Mota’s spare progressions proceed according to a different logic, purged of blues and baroque elements, guided by a north star of sequential consonance that adds up to quiet dissonance. And Garcia’s subdued, bow-born cries have an ability to compound, making the music thick with atmosphere, but still stingy with note counts. Play it late. 

Bill Meyer

Geneva Jacuzzi — Triple Fire (Dais)

Geneva has been making bedroom synth pop for years. On Triple Fire (named after her astrological sign), the production values tick upward, and several of the songs are club ready. “Laps of Luxury” is a case in point, with Geneva’s dulcet singing abetted by backing vocals, early digital synth sonics, and mechanized beats. “Scena Ballerina” recalls her early bedroom pop, with a taut riff and harmonic swerves. Trebly synths and out of the box percussion underscore an emotive vocal on “Take it or Leave it.” Geneva’s speechsong in “Art is Dangerous” and “Speed of Light” recalls Laurie Anderson’s 1980s work, while “Heart of Poison” has an art rock ambience that incorporates tenor saxophone and is rife with shimmering synths. “Rock and a Hard Place” is an aggressive example of dark wave electronica. The closer, “Yo-yo Boy” is an anthemic piece of minimal synth-pop that reminds listeners of Geneva’s roots while presenting memorable tunefulness. 

Christian Carey

Katatonic Silentio — Axis Of Light (Midnight Shift)

Axis Of Light by Katatonic Silentio

Italy-based Mariachiara Troianiello is a long-time DJ, and independent audio and ethnomusicology researcher at the University of San Marino. She also creates electronic music under the name Katatonic Silentio, and on Axis of Light explores a spatial dub, filled with palpating beats and flickering synthesizer sounds. The five tracks on this EP are all based on rhythmic frameworks that skitter and thud with a dark, night-time vibe for the most part. As the title indicates, opener “Drip in the Cave” is indeed subterranean in nature, with rubbery pads and liquid drums reverberating in tactile space. “Bridging the Gap” is lighter and bouncier, bubbling at a fast tempo and filled with electronic hoots and blips. The other pieces mix slow with fast, and machine-like rhythms with heartbeat-like pulses, all swirling in a warehouse ambience populated by ghostly static, quiet bells, or spooky, whistling tones. It’s all a neat combination of machine world and organic atmosphere, like a science-fiction world populated by real, messy people.

Mason Jones

Nicole Marxen — Thorns (Self-Release)

Nicole Marxen puts an eerie shimmer over rough crescendos of metallic noise, keening in the ghostliest, most disembodied way amidst vibrating slabs of guitar sound. “Thorns,” the album’s spiritual center, floats a chilly line of vocal melody—think Beth Gibbons or Chelsea Wolfe—over a machine-like industrial beat. Fragility blooms in an apocalyptic afterworld. “The Executioner” is heavier, more ominous, slithering to life out of the flickering buzz of downed powerlines. A stolid march emerges soon, swaggering with drums, swelling with amp-frying volume. Marxen presides like a high priestess, unperturbed amid flares, fills and violence. Like Jarboe astride a Justin Broadrick wall of noise, she stakes her claim, with operatic trills and whispered confidences. Dramatic, large-scale stuff.

Jennifer Kelly

Magda Mayas’ Filamental — Ritual Mechanics (Relative Pitch)

Keyboardist Magda Mayas’ music has often evidenced expansive thinking, but it took the resources of a festival to first bring her large group Filamental together. Once convened, she took full advantage of her octet’s assembled potentialities for imagination and sound. Having had one such experience, Mayas wasn’t going to wait for a festival to marshal such a breadth of mindpower and material again, nor was she going to let the impediments to travel and gathering imposed by a world pandemic get in the way. So, she sent out an invitation to an invitation to Filamental’s members and turned their gathered input into two pieces that run a bout 20 minutes in length. Each sets small, contrasting gestures dancing atop a consonant surface of elongated, layered sonorities. Ritual Mechanics is not so much a drone piece as an expression of continuous, focused action, richly detailed and consistently focused.

Bill Meyer

Rob Mazurek — Milan (Clean Feed)

Rob Mazurek has been recording for nearly three decades and performing much longer. His methods encompass composition and improvisation using brass, electronics, voice, and other instruments. In any body of work so broad, there are themes, some more dominant than others. Milan is a successor to Rome, which together comprise a smaller trend that involves recording solo performances in Italian radio studios with nice pianos. Recorded nine years apart, they offer a measure of how Mazurek’s work has changed in that time. Instead of cornet, he plays concert and piccolo trumpets; sternly ceremonial vocalizing and fistfuls of percussion dropped purposefully into the piano assert a more explicitly ritual intent. And, perhaps reflecting the amount of work that Mazurek has done with Damon Locks of late, the electronics now include playback options, so that vocal and instrumental samples (Is that Sun Ra I hear in there? And maybe some Ocora ethnic recordings?) as well as beat patterns muscle their way through the sizzle and smash of the prepared piano. Explicitly conceived as a journey, it’s quite a trip. Mazurek’s ensemble work can be pretty widescreen, but Milan reminds us that he can be epic on his own.

Bill Meyer

Nadja — Jumper (momentarily records)

Out of the many, many records put out by ambient and/or doom metal duo Nadja, it’s truly rare to find one that doesn’t feature Aidan Baker’s guitar in one form or another. But on Jumper, originally released as a bit of an art object on cassette (the online cover art is a look at the contraption that the tape comes in), he restricts himself not just to their drum machine but to layering and processing one particular pattern from it. Leah Buckereff provides bass, a more typical entry in the credits of their release, but here the way the slowly accreting digital noise plays over and around its pulses and feedback gives the whole album a very distinct feeling. Despite the use of drum machine there’s almost no rhythm to the whole hour here (until a surprise right at the end that catches me off guard every time), instead the effect is one of meditative harshness. The result is absolutely industrial, like a factory that’s weirdly compelling to listen to.

Ian Mathers

Orcas — How to Color a Thousand Mistakes (Morr Music)

Orcas — Rafael Anton Irisarri and Benoît Pioulard — haven’t recorded together in a decade, but they have been abundantly busy with their own projects. How to Color a Thousand Mistakes is consistent with past Orcas recordings and also reflects the music they have made in the interim. “Wrong Way to Fall” stands out in both regards, with Pioulard’s husky vocals over shimmering electric guitar solos, synth riffs and minimally complicated, but driving, drums. “Riptide” is populated by a number of different synth parts against a terse countermelody in the guitar. “Swells” has a strong vocal performance, while vibrato and pitch bends in the synths and economical guitar parts make for a memorable arrangement. “Fare” covers all the bases, with Pioulard’s voice double-tracked in a soaring chorus alongside mellifluous electronics, emphatic guitars, and plenty of drum fills. The recording’s closer, “Umbra,” has an extended introduction with a bass melody and warm synths. Then tangy dissonance and glissandos abound in both voice and instruments. It epitomizes the atmospheric textures that Orcas seem able to summon at will.

Christian Carey

Oxygen Destroyer — Guardian of the Universe (Redefining Darkness)

Guardian of the Universe by Oxygen Destroyer

Guardian of the Universe is another slab of monster-movie-themed, death-metal-inflected thrash from Oxygen Destroyer. The Seattle-based band’s previous LP, Sinister Monstrosities Spawned by the Unfathomable Ignorance of Mankind (2021), expanded their long-standing kaiju theme to include colossal beasts from outside the canon of the Tojo Studios Godzilla movies. The new record shifts tactics, focusing exclusively on Gamera and the giant turtle’s films for one of Tojo’s competitors, Daiei Films. It’s hard to know how much the record will appeal to listeners for whom those inside-baseball kaiju references mean little to nothing. But if you’re down for songs that attempt to replicate the absurd pleasures of Gamera in flight — head and limbs retracted into its massive shell, which then spins and shoots sheets of sparks from the holes, natch — this may be the record for you. Guardian of the Universe is non-stop fireworks: crazy, thrashy riffs; maniacal flat-out sprints; dive-bombing guitar solos. Should we take any of it seriously? This reviewer won’t hold forth (again) on the cultural stakes of post-war kaiju films. If you know, you know. And mostly what matters here is the band’s complete conviction and the joys of the music’s excesses. In these dog days of summer, it’s exactly what some of us need.

Jonathan Shaw

Peel Dream Magazine — Rose Main Reading Room (Topshelf)

Rose Main Reading Room by Peel Dream Magazine

It’s been four years since I’ve checked in on Peel Dream Magazine, whose second album Agitpop Alterna I described in my Dust review as “just like early Stereolab, with occasional blasts of shoe-gazey guitar thrown in for good measure.” I missed PDM’s third album Pad, so this brings us to album number four, Rose Main Reading Room. There’s still plenty of Stereolab in the mix, especially in the Mary Hansen-style backing vocals, the Farfisa, and the squelchy synth sounds (see “Oblast”). But here there’s more of a lean towards the baroque pop of Sufjan Stevens circa Illinois, mainly thanks to the chunky glimmer of vibraphone and the spiraling flute lines, which really brighten up proceedings. This balance between droning indie-rock and tuneful pop is very pretty, with sufficient musical complexity to invite rewarding repeat listens.

Tim Clarke

Plastic Bubble — Circular Breathing EP (Garden Gate/Moon Control)

The Circular Breathing EP by Plastic Bubble

Here’s a slab of happy, giddy, psychedelic garage rock which, except for the 2024 release date, wouldn’t be out of place in the Elephant Six universe. Lexington, KY’s Matt Taylor and Elisa McCabe are the chief blowers of bubbles, spinning out rough but iridescent songs like “Recontextualize,” where a guitar vamp grinds but vocals drift in pop ideality, “ah, ah, ah,” indeed. A classic indie boy-girl vibe permeates these five songs, with McCabe especially fetching in “Bright Morning.” “Forever” pulls back on the guitar roar to uncover a jaunty, girl-group bounce, with sweet counterparts and harmonies weaving in and around McCabe’s part. The set closes with a banger, part Who, part Fountains of Wayne, and all the way infectious, “Anything and Everything.”

Jennifer Kelly

SUUNS — The Breaks (Joyful Noise)

The Breaks by SUUNS

Elusiveness characterized SUUNS’ last album, 2021’s The Witness. As I noted in my Dusted review, “There’s no denying that its elusive character is part of its charm, but there are stretches where it feels more evasive than elusive, stubbornly refusing to engage more directly.” On their new album, The Breaks, the Montreal band are more direct in terms of the sounds they’re employing, but more evasive when it comes to songwriting. The majority of contemporary pop music is based around heavily effected vocal melodies and beats, which The Breaks seems to take as a cue towards similar immediacy. However, aside from the title track, the nagging piano of “Road Signs and Meanings,” and the loping stomp of opener “Vanishing Point,” this record is a tough nut to crack.

Tim Clarke

Tatsongs — Bushcraft (Self-Release)

Bushcraft by tat songs

Tatsongs are neither tat, nor really songs. The former implies fussy decoration, and these long, glacially evolving pieces seem as raw and elemental as rock formations. You can almost hear an icy wind blowing through their sheered off contours. The latter argues for a Pavlov’s buzzer of pleasing tone arrangements, and Tatsongs’ Tom Sadler is really not concerned whether you can guess then next 10 seconds of his compositions from the preceding 20. But even so, there’s something to be said for looming, sheeny layers of guitar and synth sounds that carve space and time into epic, barren landscapes. Tones vibrate in and out of true, zooming close and fading back, twitching in rhythm and coalescing in static fuzzed drones. Not a song in the bunch, nor much embroidery, but powerful stuff nonetheless.

Jennifer Kelly

TELESTIALVISIONS — Taurus in a Field (Island House)

Taurus in a Field by TELESTIALVISION

As Dittocrush, Pittsburgh resident Trevor D. Crush assembles tape loops into ambient symphonies. He often adds layers of live instrumentation from other musicians, such as Island House associate Chaz Prymek (Lake Mary, Fuubutsushi) and guitarist Ryan Fedor. TELESTIALVISIONS is his latest project, a tag team with New York guitarist Brinton Jones. The pair offer up a frothy brew that tastes rich and complex. Their debut Taurus in a Field is a pair of woozy collages that, while undeniably loose, are sharp in focus when compared to Dittocrush’s ghostly soundscapes. Crush’s tapes construct tangible shapes that intersect in a variety of patterns, while Jones unveils angelic melodies with his guitar. These two are telling a story that’s more Borges than Burroughs, a fantastical tale that defies conventional logic but manages to meander toward a graspable conclusion.

Bryon Hayes

Tycho — Infinite Health (Ninja Tune)

Infinite Health by Tycho

Tycho is Scott Hansen, and Scott Hansen is a designer. You can hear Hansen’s day job in Tycho’s music: the clean lines, the smart use of space, the sheer digestibility of it all. But should music go down quite this easy? Listening to Infinite Health feels a little bit like you’re at a trendy gym, playing a bit-part in an advert, or hitting up a bar packed with influencers. The common denominator is wanting to feel seen; everything plays a part in attracting attention. The synths sound like Boards of Canada, some of the funkier electro-pop moments sound like Daft Punk, and there’s an expensive sheen over everything. It’s hard to deny it’s appealing, but it also feels like experiencing capitalist obsolescence in real time.

Tim Clarke

White Collar—S/T (Static Shock)

White Collar by White Collar

Listeners with a long memory for North American hardcore might flash on those mid-1980s records by White Flag when listening to this new release from White Collar. Like that earlier Inland Empire band, White Collar frequently turns its critical gaze and its caustic smart-assery on the contemporary cultural climate of punk and politics as lifestyle (and your reviewer uses that odious term advisedly here). Songs like “Compassion Fatigue” and “Petition Signer” snarl at and spit on liberalism’s excesses of self-righteous smugness, to often hilarious effect. There’s a puritanical element to Gen Z’s dispositions and discourse that White Collar finds deeply irritating — not that the band is against strong ethico-political speech; check out “Meat Market” and “Equal Wrongs.” This is not the space for sustained analysis of Gen Z punk, and the extent to which we may want some sort of political purity from punk in the first place. But certainly, it’s an intrinsic good for punk to have snotty, disputatious and nasty voices in the mix. White Collar’s songs are short and sharp, and vocalist Loosey C’s performance is memorably unpleasant. Snarl on, punks.

Jonathan Shaw

[bandcampsnoop]

8/24/24.

The Saints. I've heard about their place in music history. The Australian punk gods who are one of the most revered bands of all-time down under.

Sometimes, the problem is the entry point. Especially with music. If you enter a bands discography at the wrong spot, it can leave you with the wrong impression. My entry point for The Saints was "All Fools Day" - a fine album and absolutely a product of its time.

About four years ago I listened to "Eternally Yours", and my mind changed completely. But the LPs are so expensive. I guess that's not going to change with the news of In The Red's 4 LP reissue of "I'm Stranded". There promises to be a lot to chew through including a remastered version of the classic from 1977. This is the album that helped signal the arrival of punk - along with Sex Pistols, The Ramones, Radio Birdman, and The Damned.

A couple of months ago, I posted about Iggy and The Stooges "Raw Power". I continue to be amazed at how many bands must have been influenced by the buzz saw approach of that release. I'll go with an band I love that is maybe a bit lesser known - Thomas Jefferson Slave Apartments.

By the way, this is an AMAZING live album. The Saints were in Brisbane...and this comes from 2007!! You can find copies on Discogs here. And here's the full album version of "I'm Stranded".

[omegaremix]

Spring 2022 Mixtape.

John Cale: “Sun Blindness Music”

Alan Vega: “Murder One”

Paper Dollhouse: “Space III”

Crusaders, The: “A Ballad For Joe (Louis)”

Freestyle Fellowship: “Blood / Bullies Of The Block”

Waveless: “Cicada Song”

Cult Of Luna: “Cold Burn”

Killing Joke: “I Am The Virus”

Kontravoid: “Maskerade”

Chris Connelly: Largo 22

Congotronics International: “Where’s The One”

Prurient: “Mask Of Nails”

Caroline Polachek: “Billions”

Meg Myers: “Desire”

Gang Starr & J. Cole: “Family And Loyalty”

Boy Harsher: The Runner

Tracks: “Bottleneck”

Caparezza: “Come Pripyat”

Innocent, The: “Back In My Life”

Three Times Dope: “Funky Dividends”

Congotronics International: “Banza Banza”

Prurient: “Seductress Of The Nightingale”

Julia Shapiro: “Shape”

Mr. Elevator: “Brobdingag”

Killing Joke: “Lord Of Chaos”

Xibalba: “Stone Heart”

Boy Harsher: “Run”

Twin Tribes: “Fantasmas”

Bad Omens: “Dethrone”

Ruste Juxx: “Black Fist”

Smirk: LP

Paper Dollhouse: “Lunar I”

Option 30: self-titled

Deeper In: “Sicayda”

Spread Joy: “St. Tropez / Semantics”

Incendiary: “Survival”

Maneskin: “I Wanna’ Be Your Slave”

Shame: “This Side Of The Sun”

Incendiary: “Rome Is Burning”

Xibalba: “Fuck You Pelon”

Black Dresses: “Static”

[fltwoodsmonster]

mid-year music round up: my favorite 5 albums of 2024 (so far)

its like june or whatever and ive been listening to a lot of music. here's 5 albums from 2024 I've loved so far.

5. Tems - Born in the Wild

This was my first exposure to Tems, and I'm positively enchanted. Velvety vocals, gorgeous production, and an all around great tracklist. I'm not super familiar with smooth soul or contemporary R&B as a genre, but I've really enjoyed getting into it through classic artists like Sade and, more recently, through rising stars like Tems. It's looking to be a great year for West African music!

Recommended tracks: Burning, Love Me JeJe, Gangsta, Boy O Boy, Hold On

4. Allie X - Girl With No Face

Also my first exposure to Allie-X, I was introduced to this album by my fiance through the song "off with her tits" which might be one of my favorite bops about top surgery ever. A delightful synth-pop album that leans a bit darker but without ever sacrificing dancibility. A real bop of an album!

Recommended songs: Weird World, Girl With No Face, Off With Her Tits, Staying Power

3. Mannequin Pussy - I Got Heaven

It took me a while to click with Mannequin Pussy. Their more punk songs like the eponymous I Got Heaven I vibed with immediately, but I was initially more down on the rest of this album because I thought the energy tapered off too quickly. How wrong this initial read was, though! I had the chance to see them in concert last month and it really reframed how I approached this album, letting me appreciate the slower moments a lot more. Absolutely worth checking out if you like hardcore punk and/or indie rock.. there's something here for enjoyers of both!

Recommended Tracks: I Got Heaven, Loud Bark, I Don't Know You, Softly

2. Mdou Moctar - Funeral for Justice

I heard Mdou Moctar's "Afrique Victime" for the first time last year and was absolutely blown away by it. They easily became one of my favorite active bands. So when I heard they were coming out with a new album, I was hyped. And this delivers! While I don't think it's as cohesive an album as their previous LP, the songs on Funeral for Justice stand strong as punchy, impressive feats of musical prowess. Imouhar might be one of the best songs of this year, no doubt. What a fantastic year for West African & tishoumaren music!

Recommended songs: Funeral for Justice, Imouhar, Imajighen, Oh France, Modern Slaves

Joey Valence & Brae - No Hands

It has been IMMENSELY satisfying to see JVB not only blow up in popularity but also finally start to get the recognition they deserve. Gone are the days of being straight up Beastie Boy clones - they're forging their own path forward through hip hop that draws clear inspiration from the greats (even including a feature w/ the amazing Danny Brown) while putting their own unique, often humorous spin on things. It feels like they've learned a lot from their debut album PUNK TACTICS which released only a year ago. Really hope they continue on this really promising trajectory!

RECOMMENDED SONGS: Any off the album!

[goldie90]

So... turns out that now that one of my slave sims is pregnant she's not able to engage in any hobbies anymore, which includes cooking (which is the best way to collect LP's in the game). Great just great.😒

Not enough that the game forces me to go through the stupid pregnancy event (which will take 9 days real time by the way), nope it also made sure that the soon-to-be-mother became basically useless for me during this time.

Well, I'd say if she can't help collecting LP's, she'll have to make herself useful by making money for the town with gardening and baking which are luckily things she still can do.

As for the dumb pregnancy tasks? I'm going to ignore them, cause after doing some research I found out that it's not necessary to do any of them in order to finish the quest and reach the next level. All I have to do is waiting till the 9 days are over, then the sim baby will be born anyways and the quest will be over.

But damn.... something tells me these are going to be 9 VERY long days.😕

[a-little-revolution]

If someone wanted to make a remake of wizard of oz or willy wonka or snow white and the seven dwarves, what would you say would be the best way to fix the stereotypical depictions of magical or inhuman little people? Would it be to just make them Not little people anymore, make them another creature, or to make them like, people with dwarfism? I've heard some ppl bring up the idea of having dwarves in snow white be actual in-world little people as opposed to a mythical race of 'dwarves', but it seems that would carry its own problematic connotations to extend that to what is clearly a race (munchkins) or a pseudo enslaved/servant populace (oompa loompas) would it be better to just remove these characters entirely or have their roles reprised by non-little people? On the one hand, it seems that many of them do not need to be little people, but on the other hand it seems a shame to remove roles for little people.

(i kind of feel oompa loompas are a bit hard to make work at all given they are explicitely black slaves in the original and clearly carry a sort of enslaved populace connotation in most adaptations, but I'm legitimately curious about munchkins, whose size doesn't seem to matter very much in most stories.)

Hello! My answer is to simply stop retelling these stories. The very fact that we hold onto them so dearly when they're as harmful as they are is a huge problem. We need new stories! Depicting real, complex dwarfism. We need a wide range of disabled characters and better representation for little people - and Snow White is not going to be who saves us. Fixing these stores will not undo the harm they've done. We need to leave them behind and write better pieces.

And we as consumers have done that with so many other pieces of media. We've discovered that they're harmful to a certain group, no longer supported it, and moved on. So why not with little people? Why can't folks give us the same respect?

If you can understand that the oompa loompas are problematic because they were based off black slaves, you can also understand that they were problematic because they were dwarf slaves. The two intersect in the films, and they shouldn't be so beloved in my opinion.

And the answer is not to just recreate these stories without us in them - they were built on our backs and that is their legacy. Sweeping it under the rug wouldn't change the decades of harm they've done and the oppression they're a result of.

Just ��� stop 👏 making 👏 more 👏 of 👏 them

Leave them behind and make better pieces with LP characters!!! Make them complex and loved and diverse and human!!!

[jonphaedrus]

i've been watching a bunch of zelda romhack lps lately because i've been working on a big knitting project and the one im watching right now was made by a french romhacker and the funniest part of watching the american lpers play it and comment is when they run into stuff and they're like "wait, what the fuck is this" and im just watching like no this is just what the french are like. most reecently that was the blood diamond slave mine union busting to bad midi of rage against the machine. this hack is superb.

[randomvarious]

Today's compilation:

You're Soaking in It! 1988 Indie Rock / Alternative Rock / College Rock / Jazz / Rockabilly

Continuing to explore this whole forgotten realm of ephemeral alt-indie-underground rock stuff from the late 80s and early 90s, with this little dispatch from New Jersey's APEX Records that was largely a showcase of Philly bands who are all long gone now. And with names like 7 Dancing Etruscan Slaves of the 4th Dimension and The Things That Creeped-N-Crawled Right Out-O-the Ground—whose lead singer is The Woman With the Most Scaryest Name (Too Scary to Print)—that should give you an idea of just what to expect from a release like this one: silly, fun, and quirky music that's really not to be taken all too seriously.

Now, I love lighthearted tunes that can be all things dumb, ironic, and self-aware, but, unfortunately, I don't have any highlights to post from this particular record here. And usually when that happens, that means that the record is bad, but actually, this isn't a bad record at all. There are a bunch of songs on this LP that, in fact, happen to be pretty good; but "pretty good" doesn't end up cutting it in order to achieve that coveted "highlight" status! 😅

So, while Ornamental Wigwam's shallowly inquisitive "Song No. 15" makes me laugh out loud, with purposely clunky lines like, "if there were no more residential districts, where would we go to bed?" and Nixon's Head plays with this satisfyingly catchy and lively, light rockabilly tinge on "Dollars and Sense," and a band called Wack Mags deliver a mix of irreverence and 70s Detroit on their only ever released song, "Baby, Baby, Baby," I just can't bring myself to lie to you all and tell you that any of these songs are excellent 😔.

But I'm also not gonna end up leaving you empty-handed here today, either; if you want some awesome Philly fare, there are some great tunes on this YouTube-only 90s Indie Rock playlist that I put together a few years ago. Terrific offerings from bands like Transient Waves, Photon Band, Lenola, and The Asteroid No. 4. None of it's intentionally wacky, like what's on this late 80s record, but it sure feels like some of the best of what indie Philly had to offer at the time 😊.

Also on YouTube Music.

No highlights.

[cosmicanger]

Beverly Glenn-Copeland Announces First LP in Two Decades ‘The Ones Ahead’

Beverly Glenn-Copeland has announced his first album in nearly 20 years. The 79-year-old musician best known for 1989’s Keyboard Fantasies is set to return with a new project entitled The Ones Ahead.

Slated to drop on July 28 via Transgressive, the new LP is the follow-up to 2004’s Primal Prayer, a self-released 8-track assortment of dance-inspired spiritual anthems. A compilation record dubbed Transmissions: The Music of Beverly Glenn-Copeland was released in 2020. And in 2021, Glenn-Copeland reissued Keyboard Fantasies, along with a remix album. The Ones Ahead, however, will mark the first totally fresh music from the artist in some time now.

In tandem with announcing the new album, Glenn-Copeland shared its opening track, “Africa Calling.”

“In the ’80s, I had the honor of performing with an incredible artist named Dido, a master of the drums indigenous to West Africa,” Glenn-Copeland said of creating the song. “The beauty of this drumming tradition is explored in “Africa Calling.””

“Over the years, in many conversations, I have come to understand that I share an undefinable, unnamed feeling—a calling—with many other members of the African diaspora, a bone-deep need to explore and express our heritage. Alongside the grief, there is a longing to know our roots, hidden from us as family lines were torn apart in the terrible days of the trans-Atlantic slave trade. In a world still caught in the ties of colonialism, I know I am not alone in needing to heed the call of this generations-old longing.”

[zerounotvadri]

Reseña de Rat Wars de Health

por Loma Vista Recordings

El disco ya está disponible en esta liga: https://i.hlth.band/ratwars

Rat Wars, el nuevo álbum de Health, banda de rock industrial de Los Ángeles, es el más violento pero vulnerable de su carrera. De alguna manera es apropiado que una colección de canciones tan brutal sea al mismo tiempo su declaración artística más completa.

Los detalles de producción meticulosamente agresivos chocan con confesiones dolorosamente personales y una extraña gracia salvaje se combina con un humor gélido y negro... sorprendentemente, aún con todo eso es increíblemente divertido.

Con Rat Wars, Health se une al linaje de bandas heavy innovadoras como Nine Inch Nails y Ministry, que volvieron a trazar las fronteras entre el metal, la electrónica y la música pop. También habla directamente de la joven y ferviente subcultura en línea de la banda.

Podría ser el “The downward spiral” para personas con al menos dos monitores y deficiencia de vitamina D.

Escrito durante el período más difícil a nivel emocional de la vida de la banda, el álbum se basa en sus caóticos pero revitalizantes años de pandemia. En ese tiempo, Health grabó docenas de temas con héroes y herederos como Nine Inch Nails, Lamb of God, 100 Gecs, Poppy y Pertubator en DISCO4.

Rat Wars captura toda la furia y ambición a la que hasta ahora han aspirado sus LP. Es su declaración más audaz sobre la locura y la insipidez de la vida contemporánea. La grandeza del arena-rock de “Demigods” da paso al nervioso techno de “Hateful” (coescrito con el artista español de EBSM Sierra) y al despiadado gabber-thrash de “Crack Metal”. “Children of Sorrow” (con la guitarra de Willie Adler de Lamb of God) y “Sicko” (que usa un sampleo de “Like Rats” de Godflesh) se deslizan con la

amenaza gótica de los noventa. “Ashamed” es un R&B corrompido con Pop, mientras que “DSM-V” es el momento cumbre del Blood Rave. Nacidos en la embriagadora suciedad de la ruidosa escena del centro de Los Ángeles, el cantante y guitarrista Jake Duzsik, el bajista y productor John Famiglietti y el baterista BJ Miller se propusieron generar división mientras creaban canciones filtradas a través de pedales de guitarra. Pero ya desde Get Color de 2009, todos sabían que esta banda era algo diferente. Tocaron en importantes festivales globales como Coachella y Primavera Sound, y después de un breve descanso para componer el innovador título de Rockstar Games, Max Payne 3, regresaron en 2015 con el esperado Death Magic. Ese LP aprovechó al máximo las herramientas de producción digital, injertadas en su ruido estridente y paisajes sonoros de vanguardia. El álbum se convirtió en un punto de entrada para una nueva generación de fans, encontrando audiencia tan fácilmente en clubes góticos como en estudios de producción de dormitorio. Vol. 4: Slaves of Fear de 2019 se ganó a los fanáticos de la música heavy con sus riffs de thrash que se disuelven en melancolía ambiental y ritmos de hip hop, mientras que en la era del encierro, Disco4 exploró completamente la composición colaborativa con amigos de los mundos del metal, rap, electrónica, y rock independiente. Este arco profesional largo y deliberadamente poco convencional se ha fusionado en Rat Wars. Son, por fin, una banda que se siente cómoda con su propia incomodidad.

Agradeciendo Información a

Bajo Tierra Prensa Luis Jasso