Peaches is back with No Lube So Rude, her first album in roughly a decade, and she’s returning to a world that feels even more absurd than the one she spent the previous 25 years gleefully provoking. Speaking with Kyle Meredith, the electroclash icon digs into what finally pulled her back toward making a full record; how the Teachers of Peaches anniversary tour helped connect generations of fans; and why menopause, aging, sexuality, and human rights all belong in the same gloriously unruly conversation.
Peaches is back with No Lube So Rude, her first album in roughly a decade, and she’s returning to a world that feels even more absurd than the one she spent the previous 25 years gleefully provoking. Speaking with Kyle Meredith, the electroclash icon digs into what finally pulled her back toward making a full record; how the Teachers of Peaches anniversary tour helped connect generations of fans; and why menopause, aging, sexuality, and human rights all belong in the same gloriously unruly conversation. She also breaks down the new live production, her collaboration with Squirt Deluxe, and the unlikely opera costumes that have been thoroughly Peachified for the road.
Exploring the Themes of No Lube So Rude
If early Peaches records sometimes sounded like a brick through the window, No Lube So Rude is interested in what happens after the glass breaks. “Before, I felt more like me versus them,” she says of the change in perspective. “Now it’s like, ‘Oh, we just got to all try and get an understanding, but fight. Keep that fight.’” That idea runs straight into “Hanging Titties,” an opening salvo that turns menopause and aging into something loud, funny, sexual, and defiantly visible. “There shouldn’t be shame around that,” Peaches says, noting that longer lives demand a rethink of what middle age and beyond are supposed to look like.
Collaborations and Remixes
Then there’s “You’re Alright,” whose video brings Peaches together with director Agniya Galdanova and Gena Marvin, the Russian political drag performer at the center of Galdanova’s documentary Queendom. Gena’s elaborate taped costumes become both armor and prison, which Peaches describes as “showing this oppression but also expression at the same time.” Shooting around a Paris Metro station without closing the location added another volatile layer, with reactions swinging from hostility to fascination. “You could have made a documentary about people’s reactions to Gena,” Peaches says. The song has also been given another life through a Pixel Grip remix featuring IDLES’ Joe Talbot, an overhaul Peaches thinks transcends the usual remix exercise: “It just feels like a new song,” she says.
Listen to Peaches talk about No Lube So Rude and more in the new episode above or by watching the video below. Keep up on all the latest episodes by following Kyle Meredith With… on your favorite podcast platform; plus, check out all the series on the Consequence Podcast Network.
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