the hotrats

Blurb #12 : Getting off - 4/4

Requested : Yes

Could u do a visual of you walking in on the boys masturbating or just the boys masturbating like a blurb about them masturbating would be hot

Rating : R

Ashton :

Okay so I feel like Ashton would try to be as discreet as posissle okay? Because obviously he wouldn’t want the boys to see him and I feel like he would only do it occasionally and he would only do it if he was already hard and had no other way to just do it… And okay, he’d lay in bed and he’d close his eyes and start to imagine you like lying under him as you’d wait for him to take you. And he’d picture you panting under him, your eyes closed and lips parted and he’d start moving his hands at a study pace, making sure not to be too loud and he’d just bring himself to the edge really quickly because what he pictured in his head was too much and he’d bit down really hard on his bottom lip as he’d give his final stroke and imagine you on your knees looking up at him and that’d do it and he’d quietly come, shooting his come on his stomach as he let out very small whimpers.

Calum :

Calum, now I feel like Calum would be gentle on himself like I don’t know, he’d worship his member and so he’d take his time okay and he wouldn’t really tease himself but he’d give long slow stokes and okay he’d need a bit of stimulation so he’d either look at one of the pictures you’d sent him on his phone or he’d imagine that it’s your hand touching him and that it’s morning and that it’s how your waking him up and he’d picture how you’d smirk at him and how you’d play with his balls and then how you’d kiss up his chest and then start to suck on his neck… And so by that time he’d be very close and he’d be letting out little whimpers and content sighs and he’d imagined how you’d suddenly hover your lips over his tip and then take him in your mouth and he’d shut his eyes tightly as he’d make a mess on his own bed.

Luke :

Oh Luuuke… I feel like he’d tease himself like he’d go gradually, first through his boxers and then he’d just start with the tip, circling his thumb over it and then he’d slowly run his hand up and down his shaft and he’d either call you so that you could give him instructions or he’d remember that time when you had surprised him with new lingerie and you had taken care of him and make him come multiple times in just one night and he’d just replay it all in his head and try to copy what you did so he’d go slow and then increase the speed and he’d rub the pre-cum off with his thumb before gently grazing his nails down and then he’d feel himself coming so he’d just picture how you’d ride him and he’d come in a second, covering his hand with hot sticky come.

Michael :

Now Michael I just feel like he’d go straight for it and just literally fuck himself with his hand and he’d give himself no time; like he’d just pump it up and down again and again until he comes… And I feel like he’d just picture fucking you senseless and how you’d whimper and call his name; how you’d grab his shoulders and dig your nails in his skin; how you’d arch your back from the bed and how you’d bit on your bottom lip and as he’d near his release he’d just try and remember how good it feels when your walls are closing on him because he’d made you come so hard and he’d buck his hips from the bed and just come with a long moan.


As far as covers go, The Hotrats did a version of The Beastie Boys classic (you gotta) fight for your right (to party) that’s difficult to beat.

Well played, Hotrats, well played indeed…

The Hotrats Review - 28/06/11

Review by Neil Manrai

Photos by Justine Jones 

Six top-twenty albums over 17 years, three of which went platinum. Enough said. Supergrass were undoubtedly one of the most important bands of the Britpop era and probably the only one to maintain commercial and critical acclaim well into the 21st century. Sadly they called it a day last year, but lead singer Gaz Coombes and drummer Danny Goffey are back already with The Hotrats, covering songs from rock’s most recognisable names. Anyone questioning their relevance should only need to point to the fact that they just supported Foo Fighters at the gargantuan Milton Keynes’ Bowl. So what an honour it was for them to play the Boileroom just a few days before.

The venue was unsurprisingly jammed full, so it was only right that the support act were a band of the highest pedigree, and Brother and Bones were most certainly that. After a quiet acoustic-based beginning the band exploded into life with a raucous hoe-down reminiscent of an adrenaline-filled Mumford and Sons. ‘Here Comes The Storm’ moved from a delicate array of whispering melodies to a full-blooded cry of the eponymous chorus sung with the gusto of Chris Cornell, while the rocky 'Good For You’ was just as sleazy and dirty as a Dead Weather track. The layers of acoustic and electric guitar and the addition of two drummers created the energy to get the crowd dancing for the many instrumental solos. For many the nu-folk revolution comes across as a bit weak and timid but Brother and Bones throw that argument out to sea with the other wet bands because when the next tide comes in they will surely be carried onto the crest of a high wave.

Brother and Bones

Suitably pumped up, the mass of fans, including Nikki from Big Brother (I know, who is she) welcomed The Hotrats to the stage. Gaz was instantly recognisable to those of us brought up listening to Oasis, Blur et al, and his giant red sunglasses were not going to disguise him from the adoring fans. Starting with a party-version of the Velvet Underground’s 'Can’t Stand It’, the Oxford-duo played punchier versions of classics including the Cure’s 'Love Cats’ and single, the Gang Of Four’s 'Damaged Goods’.

Despite the incredible appreciation to each track, the mainly older crowd were quiet during the early part of the set, maybe stunned that they got to see a band of such esteem so close up. But when they pulled out a similar version of Roxy Music’s 'Love is the Drug’, mass cries of 'whoa’ began and the commotion continued into the less surreal cover of Pink Floyd’s 'The Bike’.

The Hotrats

Covers bands are a strange kettle of fish, not everyone’s cup of tea, and if brewed wrong they can be loathsome like Bob Dylan’s live versions of his old classics. The Hotrats generally play it safe by sticking to the essence of the influential tracks, just polishing them off for the youthful generation. 'Mirror in The Backroom’ was a perfect taster for the Beat’s autumn Boileroom show and 'EMI’ was a brilliantly indie-pop version of the Sex Pistols punk classic. The band went off to a rapturous applause not long after before returning to close with new single, Elvis Costello’s 'Pump it Up’. The set was very much one of nostalgia, covers of classics from the 60s to 80s by a band most prominent in the 90s. However, the poppier and spikier versions will no doubt bring in a new legion of fans, especially having just played in front of tens of thousands of Foo Fighters fans. Gaz and Danny are here to stay and their teeth are still nice and clean.

The Hotrats