It was the year 2001, and despite the incident that will eclipse the entire year—you know which one—it can be considered one of the most recently horny years in modern history, at least, in terms of the music. Hip hop was cruising for cutty, R&B aimed to seduce you into the bedroom, and even pop music embraced its long-hidden sexual undertones. Artists like Christina Aguilera wanted to get “Dirrty,” Pretty Ricky encouraged you to grind on ‘em, and Petey Pablo had “Freek-a-Leeks” in his phone. That was the mainstream, but compared to that, the underground was much raunchier and spawned an even more open, and, most importantly, more queer revolution.
We had a Republican party president who sought to start a war in Afghanistan and threatened to repeal rights from people such as women and, overall, the LGBT community. Abortion rights, the right to marry, you name it. The right to just be free was in the crossfire of faux-Christian nationalists. So, naturally, sex and love became more than an act; it became a weapon, an instrument of shock to the system. This turn to horniness seems to happen a lot when a president borders on fascism to the point where they start invading your bedroom. Because of this, not one artist was afraid to let the system have it. We had Peaches fucking the pain away, Princess Superstar barely watching your little brother and getting fucked on the dancefloor, Lesbians were on Ecstasy and even young, drugged models were getting in on the fun till they were reminded of their wasted youth via Ladytron’s “Seventeen.” Even Matt Sims of the fondly remembered Citizen King didn’t see better days till he moved to Berlin, became Mt. Sims, and showed you “How We Do.”
This continued for about as long as George W. Bush was president, meaning even rockers were horny as fuck. Look at Yeah Yeah Yeahs, Louis XIV, and Death from Above 1979. It would not be far-fetched to believe this is how the free love movement in the 70s happened, and coincidentally, the Summer of Love was an answer to the Vietnam War.
Fast forward to today, we have survived the toxic Trump administration and slid into the Biden administration. People are now not just as openly horny as ever in music, but rather, more confident, accepting, and exploratory in their sexuality or sexual orientation. There is a clear power dynamic connected now. The power is in how much you want to fuck, who you want to fuck, and having the balls to feel fuckable, and that is being harnessed heavily amongst non-hetero male artists. DEBBY FRIDAY, Latto, Moonchild Sanelly, Doja Cat, Megan thee Stallion, and many more. Sexuality is now less a free-for-all and more a sublimation of one’s feminine power. Concerning the situation at hand, Argentina’s Six Sex came at a perfect time.
One of the songs off their latest EP Satisfire, “Hot&PerfecT” brings you back to the boastful days of electroclash, a genre that mixes rock/punk shamelessness with hip-hop confidence and an electronic pound of energy. Rather than merely rap with boastful energy, Francesca Cuello shouts to the heavens loud enough to avoid being overpowered by the woofer-bullying bass drums. Odds are if this song gets played at a club, everyone would be trying and failing to contain their energy after one too many drinks, and being fuckable and/or—yes, or— ready to fuck is almost an equivalent to being punk in this day and age. It is music played by a person whose personality you can’t fucking stand, but have those intrusive thoughts about wanting to bed three times a day, if possible.
The rest of the project harnesses what the LGBT community would call a “cunty” energy to the music. And that’s putting it mildly. As tempting as it is to compare this to hyperpop, it is mere club music that aims to push your buttons and move with your moment of highness and comedowns. The trippy “Kappa Kitty Galo 2” orchestrates this nicely by quickening during the first verse and slowing down during the second, as if to control the atmosphere of wherever this gets burned.
Another hallmark of that time in the 2000s is that where there is a lot of sex brewing in the air, somewhere there is also a cloud of cocaine smoke. Tracks like the bouncy and ferocious “ESA bicha” and the ravenous pound of “FuckU” hints towards this world that sounds like a chrome-plated update of the sounds tackled by electroclash DJs/producers such as Felix da Housecat or Miss Kittin. (Writer’s note: the comparison is not to discredit the artist at all, but to chart the way the record, and by extension, the artist, is instrumental to both the growth of horny club music.)
Six Sex’s Satisfire is the sound of femininity at its most maniacal. It purrs without fear of showing its sharp teeth when it has to. Attractive, but with an often ignored caveat. At a time when reproductive and LGBT rights are getting stripped away or threatened as such for the umpteenth time, one can not only dance but keep in mind the natural power one holds within themselves that cannot be taken away or banned: the power to make people want to fuck. If the exploration of the feminine id is what you live for, then Satisfire has you covered.
