by Rolling Stone Magazine (2003 Cool Issue)
For the past nine years, Butt Boy has been composing original music designed to set the tone for dungeon scenes, gaining a loyal cult following in the leather world. Having done his masters work in music composition, he has created his own cottage industry, marketing as well as producing seven albums.
Butt Boy has come a long way from his beginnings. He started writing his music for use in his own scenes, feeling that mass-produced music being used in dungeon play was at best incidental and at worst intrusive. He set out to create music that could become a part of, even inspire, the action. As friends and "partners" heard his creations, they encouraged him to package the songs and release an album. However, there was no market for self-described "Dungeon Music." It too had to be created. Thus Butt Boy began in Houston during "Living in Leather '93," copying the cassettes of his debut album "Feel the Music" under the table as quickly as he was selling them. What began as a side business grew over the years into his sole profession. To date, he has released seven albums by Butt Boy under his own label, Thrust Recordings, and soon will add a second artist to that label, Techestral.
Each album, Butt Boy says, was built around a different concept. Initially, their concepts were overtly sexual, exploring the rhythms of flogging, screwing, and oral. Later album themes have leaned more to the spiritual, exploring rituals, fantasies and the mental side of play.
"I was beginning to understand the leather psyche more," he tells, "beginning to realize it was about more than a specific sex act. Leather, I realized was a way of life, a ritual." His 1999 release, "Cathedral," broke through with a Gothic arc and orchestral feel that focused on the visual. By '99, his expanding fan base made experimentation not only possible, but necessary to his survival. After all, what is the leather lifestyle about if not pushing limits. This year, he is set to release his eighth album. Titled "Visions," his music style changes yet again to be darker and more sinister than any that came before it. He took as inspiration, a series of fantasies and dreams he had concerning mythological creatures mating with humanity, sometimes violently.
"Don't tie me down to formulas," Butt Boy explains, "I don't take what's successful and do it again and again like Hollywood sequels. I try to take (my music) somewhere different each release. Of course, that means people have often liked one album and not another." Adding with a grin, "That's fine as long as they buy the ones they do like."
A master musician, Butt Boy has proven to be a master marketer as well. Over the years, he has grown larger than the leather festivals where he began. Of late, his music is available in many lifestyle stores around the country and as far away as Australia. On the web, Butt Boy music can be heard at www.ButtBoyMusic.com.
Butt Boy has single handedly carved a niche for himself in the music industry where independent ideas are not as welcome as one would believe. His refusal to be tied down musically has proven a welcome soundtrack for those who like to be tied down physically. Butt Boy is committed to bringing his music, as well as the leather message, to all who are progressive enough to listen.
Check out the artist's website:
1. The Waltz Of The Imps
2. Riding Centaurs
3. The Ritual Of The Whip
4. The Beating Of The Minotaur
5. The Hooded Ungulate Flogger
6. The Swaying Of The Succubi
7. The Ritual Dance Of The Satyrs