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Peaches - The Teaches Of Peaches (00 ^ 99mb )
Before she became "Peaches", Merrill Beth Nisker ( 1966 in Toronto) was an elementary school music and drama teacher. She plays almost all the instruments for her songs, programs her own electronic beats and produces her records. In Toronto before rising to fame, she was the roommate of fellow recording artist Feist. Peaches' music is preoccupied with genderchange identity, and she often plays with traditional notions of gender identity, gender roles, and gender presentation. Her lyrics and live shows self-consciously blur the distinction between male and female; she appears on the cover of her album Fatherfucker with a full beard. When asked if she had chosen the title for shock value, she commented:“ What is a motherfucker? ... We use it in our everyday language, and it's such an insanely intense word. I'm not one to shy away from these obscene terms that we actually have in our mainstream.. But if we're going to use motherfucker, why don't we use fatherfucker? I'm just trying to be even. " She disputes accusations of "penis envy," preferring the term "hermaphrodite envy" since "there is so much male and female in us all".
The Teaches of Peaches is a crash course in Peaches' punk-disco burlesque. "Sucking on my titties like you wanna be callin' me all the time like Blondie/Check out my Chrissie be-Hynde it's fine all of the time" she sings on the opening manifesto "Fuck the Pain Away," which crystallizes her sound and approach -- her music is equal parts sex, humor, rock, and dance, with her frank, and often frankly hilarious, lyrics riding atop stark drumbeats, throbbing basslines, and repetitive but undeniably rockin' guitar riffs. Trashy, energetic tracks like "Rock Show" and "Lovertits" put the "rude" back in rudimentary; it's the kind of cleverly stupid music that's made by pretty bright people. Indeed, it's quite possible to read all sort of women's studies theories into Peaches' music; she's unrepentantly, triumphantly sexual and turns the tables by objectifying guys, but the fact that her sexually explicit music isn't presented as a bravely feminist act is, paradoxically, exactly what's so liberating about it. It's fairly remarkable for an artist with such a brash, distinctive style that she doesn't start repeating herself until the very end of the album. Funny, sexy, outrageous, and danceable all at once, The Teaches of Peaches is a great introduction to a unique artist who defines herself by gleefully blurring boundaries.
The Herms (short for hermaphrodites) were formed in spring 2006 as Peaches' live backing band. "Herms is a reference to 70's duo Peaches & Herb and blending of words her and him.
01 - Fuck The Pain Away (4:10)
02 - AA XXX (4:33)
03 - Rock Show (2:09)
04 - Set It Off (3:17)
05 - Cum Undun (4:20)
06 - Diddle My Skittle (4:40)
07 - Hot Rod (4:43)
08 - Lovertits (4:41)
09 - Suck And Let Go (6:28)
10 - Sucker (3:38)
11 - Felix Partz (4:29)
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Princess Superstar - Princess Superstar Is ( 02 * 99mb)
Princess Superstar ( Concetta Kirschner, 1971) parents were psychologists, and they moved the family to the suburbs of Philadelphia, sending Kirschner to Germantown Academy. She was a member of the Singing Club, the Theatre Club and the Black Student Union (?). After graduating from high school, she moved to New York City and studied acting at New York University, learning to play the guitar and sending a demo tape to the College Music Journal and Grand Royal, a record label headed by the Beastie Boys. Her debut was called Strictly Platinum, and gained her some notoriety as one of very few white rappers, as well as for her openness regarding her Jewish heritage and gender-related issues.
A hip-hop album of pure, silly fun with zero pretensions, Princess Superstar's Is, her fourth record, should have a wide appeal, as it is mostly about sex and though there are a zillion hip-hop albums about sex (especially from women rappers), few are this clever. One of the few white gal rappers out there, Princess Superstar is an oddity on the rap scene, unlike other gal rappers Lil' Kim and Foxy Brown, Princess Superstar doesn't have a voice made for rap. Her vocals are higher and her flow less smooth, but what she does have, which, is skillfully written rhymes that aren't about building on rap stereotypes. Princess Superstar raps about inviting her boyfriend over and humping him on the couch while babysitting and getting paid six bucks an hour. Also, there's the ultra-silly "Keith 'N Me" featuring Kool Keith, mostly though, the album is Princess Superstar rapping about how horny she is in various witty scenarios.
01 - Super Fantasy (1:40)
02 - Bad Babysitter (Feat. The High & Mighty) (3:35)
03 - Keith 'N Me ( (Rap Kool Keith) 4:24)
04 - Wet! Wet! Wet! (3:26)
05 - We Got Panache (3:18)
06 - Trouble (3:32)
07 - You Get Mad At Napster (4:05)
08 - Untouchable Part 2 ( Voc. Beth Orton )(3:33)
09 - Untouchable Part 1 (Rap 7Even) (3:35)
10 - What Is It? (1:49)
11 - Welcome To My World (3:42)
12 - I Love You (Or At Least I Like You)(Rap J-Zone) (4:12)
13 - Who Writes Your Lyrics (2:43)
14 - Dichotomy (3:26)
15 - Keith 'N Me (Remix) (Rap Kool Keith) (4:31)
16 - Too Much Weight (7:25)
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Sylvie Marks & Hal 9000 - Krazeee ( 04 ^ 184mb)
Sylvie Marks started off playing the piano and surprising the teacher by playing the pieces without notes. Ten years later she's playing in a band, purely local heroism and by the late eighties she takes up dj'ing. Frankfurts scene is bubbling and by the end of 92 she's booked internationally. First 12 "release and a "own" hr3 clubnight, the most famous radio show in central germany every saturday night, becomes a resident dj in frankfurts biggest club, the "music hall". End of 94 the move to Berlin lots of gigs, radioshows and the occasional remix, first work with fellow frankfurter Hal 9000 in 98 with whom she would record Krazeee in 2004.
Sylvie Marks and HAL9000 bring more than a decade of experience to their Krazeee debut, with much of that time spent DJing and producing remixes. The primary weakness of this otherwise strong outing some tracks are a bit drawn out, excising the excess would only make the material stronger . Yet there's plenty of quality electro-synthpop exercises, with Blutenspass a strong opener. The duo here conjures an unusual bluegrass-electro-disco groove and then adds plinkety-plunk melodies, vibes, and Marks breathy German vocals. The inclusion of vibes in particular is an imaginative touch, and it s this kind of gesture which distinguishes other songs too. In addition, there s robotic techno ( Jupitersex ), dreamy trip-hop, and electro-techno, plus thumping beats that swing and sash.
01 - Blütenspass (5:39)
02 - Kiss Me (4:52)
03 - Jupitersex (5:13)
04 - Juno (6:25)
05 - My Computer Eats An Acid Trip (7:27)
06 - Wir Sterne (5:26)
07 - Krazeee (5:23)
08 - Unreachable (6:13)
09 - Die Blume (6:19)
10 - Steppenwolf (6:18)
11 - Cowboy (6:10)
12 - Somebody (6:34)
13 - Baby I'm Electric (3:54)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
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