Peaches

Peaches is a stage name taken up by one of the most scandalous and unique contemporary rock-music performer under the real name of Merril Nisker. She was born in Canada, 1968. Living in Toronto with her parents, Merril was an obedient child, a good pupil and expected to be a children’s music teacher. Although she failed to get the certificate, she spent some time working in that position until she realized that writing and playing music was her only true vocation. Nisker parted easily with her teaching occupation and picked up the Peaches moniker to work on the stage and in the studio. Doing the new role, the girl did not bind her with any restrictions possible and applied music as the best instrument of self-expression. Armored with the simplest of synthesizers with easy beats and having collected a tiny sum to make the first demo-tape, Peaches made her first steps towards the conquering of the masses.

The core of the music by Peaches was electroclash, while her stage image was based on the unquenchable desire to shock and amuse the spectators. The combination of rock-n-roll and extremely dirty lyrics offered to the public by the very audacious singer was a perfect tool to attach the interest of the sound recording companies. Unexpectedly, it was the Berlin label Kitty-Yo from the remote land of Germany that wanted to sign up Peaches the most. Within a short period of time, the singer performed live and cooperated with other performers much and well enough to raise funds for the making of her debut long player. Called The Teaches of Peaches, it hit the stores in 2000. However, the label appeared very weak to promote the product nicely, which made it possible for the album to reach the wide audience only in two years. Peaches solely penned, performed and produced all the compositions featured on the record. The songs were the statements about sex, feminism and other associated things made to the loud and garage-like music built on simplest patterns. The record was hard for many to listen to up to the end, yet a true present for those who did like such a trend. The fresh release was promoted with a lasting tour during which Peaches visited many cities in North America and Europe. She was not yet invited to big venues, but she was very good at making colorful shows on the small ones for many music lovers to like and remember her. Radio stations did not provide her songs with a lot of airplay, while the clubs played them often, which also contributed greatly to her popularity in the underground music world.

In 2003, Peaches moved to a bigger label, XL Recordings. She was very lucky to involve the established punk music performer Iggy Pop into the making of her sophomore album. Musically, Fatherfucker, did not have strong revelations, yet the big name of the glorious rocker granted the record with much interest from the public. To support the recent album, Peaches made a video for Kick It, arranged as many concerts as possible and got spotted in a number of pop-music projects. She finally reached the status of a much anticipated performer to play on big venues with big acts. She opened the concerts of Bjork, Marilyn Manson, and Queens of the Stone Age. In 2006, Peaches issued her following studio effort under the title Impeach My Bush, and recruited The Herms, a band that would support her during all live performances. The musical style and the stage image of the singer did not go through a lot of changes as time went by. Peaches earned a solid reputation of a sock-artist. In 2009, she released another full length album, I Feel Cream, offering a softer and cleaner sounding than its predecessors.