From Columbus, Ohio, BLAKSWAN manufactured a fiercely vivid Alt-Pop single that resolutely dives into the rather taboo topic of society, the dynamic between the dominant feminine and the submissive masculine. As per the artist’s recount exclusively for Blue Rhymez Entertainment: “I have a couple of pretty unique fetishes that swim around in my subconscious at any given time. With that in mind, as a songwriter, I made the conscious effort to pull that experience out and shed some light on a subject that I find oddly underrepresented in mainstream music: the role-play between the “Mommy” dominatrix feminine and the submissive masculine. At first glance, the lyrics float around fun and being care-free but I laced them with gender reversal in relation to power.”
The psychedelic introductory segment instantaneously draws in the public pondering on what’s to arrive next. Oh, and is it worth the wonder! With a few curt record scrubbings that point to an artist potentially being influenced by ’90s music, BLAKSWAN becomes a whole main character: Okay
I need a sick b*tch that’ll dom me/ I need a mistress, call her mommy/ She lookin’ vicious when she on me/ I want you on me like Murakami.
Okay, let’s take a moment to process what just happened! Like… This is unbelievably good!!! The hook is so ridiculously catchy and substantial and extraordinary that you find yourself thinking that BLAKSWAN just has to be some secret songwriter in the music business because the irrefutable hit penning skill slaps you in the face and kicks you in the gut. An appropriate comparison given the mood we’re being sucked in. 😀 Oh boy, everything in this article now starts sounding like double entendres.
I need a sick b*tch, I need a mistress/ She gonna sit on my face and smile like a princess/ I’ll be your boy toy that you can destroy/ Pressing your weight ’til I suffocate underneath it boy – drops in tonality the singer having the listener gawk in surprise at the authentic portrayal of vibes within the vocal chords. Someone needs to redo Fifty Shades of Grey on a soundtrack by BLAKSWAN and with reversed roles, please!
Let’s talk for a second about the drop-dead gorgeous instrumental that oozes sexiness, allure, and mystery that come off so complementary to the narrative! And to think that the songwriter is also the producer! The drums paired with the vocals have an ASMR quality to them. The electro synth sounding like huge droplets of water hitting a led-colored dance floor bounces back and forth inducing a trance-like state. Ugh! Just wow on top of wow without any sarcasm in the middle.
Dear Lord, Michael Jackson would be proud AF! And she a thick f*cking mistress, and I submit to her wishes/ And she could piss on my face and I’d lick it up with ambition/ Switching now I do the spitting, ropes and choking, spanking and whipping/ Then she gets pissed and throws fists ’til I go back in submission, wishing you’d, blows our imaginations away the one and only, Matthew Bonder. Yup, that’s the name of the genius behind the record. Besides having let us in on his very peculiar fetishes, the singer abode by some true Jackson techniques. The rapidly fluid intercalated chokes make this whole thing pure magic.
And because triple-layered cakes just aren’t good enough without icing on top, BLAKSWAN enlargens the landing of the song with a suggestive, distant-sounding, heavily processed section that transposes the listener into a drug-like state: Beat the sh*t out of me, I don’t care if I bleed/ I’m not sick, I’m diseased, baby please, baby please/ Put your skin in my teeth, shove my face in-between/ Let me clench, let me squeeze, baby please.
The feminine take is explicitly presented in the following segment: I need a lil boy, sit on your grill boy/ I gotta a*s that’s so fat it’s licensed to kill boy/ I’ll make it hurt boy, then make it worse boy/ Give me that leather and feathers and make it squirt boy. And you thought the heat waves of 2022 were hot! This parallel portrayal renews the bond the audience has built thus far with the artist now being able to see both points of view and still enjoy the same direction of role-playing and dominance.
“If anything, I want to exploit my own weakness, my brain’s own susceptibility to pornography and sexuality. There are of course some female artists writing in the space of this ideology, but not enough, and I certainly haven’t seen any other male artists prosing this narrative. So in the most fun and unassuming way possible, I wrote MOMMY in one quick session to a skeleton beat that I had made a few days before. After I laid down the topline, I went back and ended up completely remaking a new beat around the vocals to glue everything together very intentionally,” concludes his statement BLAKSWAN while we’ve reached the end of MOMMY.
With hot lyrics, cold fury, and a most pleasing instrumental, MOMMY is the type of Avant-Pop song to dazzle any and everyone daring to hear it out and haunt them a good while after too. While one may not openly admit to having such a song on replay, the streaming numbers on YouTube Music alone speak volumes (18k at the moment of writing this review article.)
Song Credits: Matthew Bonder (BLAKSWAN) – Singer, Songwriter, Music Producer; Alex Sacco (SACCO) – Sound Engineer.
Written by Mariana Berdianu
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