In 2000, recovering from cancer and heartbreak, Merrill Nisker bought a synth, renamed herself Peaches and made a scorching album that became a feminist classic. In this extract from our Start podcast, she relives the sex, pain and pillow talk that fuelled The Teaches of Peaches
I had no idea I would become a musician; I fell into it. First, I had a band called Fancypants Hoodlum. It was quite expressive in terms of how I performed. I had good musicians with me and was learning to play electric guitar – to nobody other than myself.
I didn’t feel there was a community of people that I related to musically. I felt a kinship with a band called Spin the Susan. They reminded me of the band in Beyond the Valley of the Dolls. They had two female singers and I wanted to start a band with one of the girls. She had a next-door neighbour with a basement jam room. There was another guy she had a crush on, who was in a band, so she suggested the four of us work together. Immediately I was like: “I want an all-girl band, this is not what I’m looking for.” But I went anyway.
Related: Peaches webchat – your questions answered on Trump, feminism and being yourself
Continue reading...by Peaches via Electronic music | The Guardian
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