Peaches 'n' Speed

Manipulating the media in the name of coochie rap

Is this just the usual queasiness artists have with pigeonholes -- the proverbial biting of the hand that promotes them -- or something deeper? Electroclash as a term has been in circulation for scarcely more than a year, and already the haters are sharpening their knives. One New York scenester proclaimed on his website, "Larry Tee's 'electroclash' is phony rebel posturing at its worst; he and his puppet acts would like nothing more than for 'electroclash' to go mainstream."

Besides Tee's McLaren-like zeal to take fringe culture to the bank, other criticisms that dog electroclash are that it's a mere reenactment of a not particularly substantive decade and that its vaunting of surface over content makes for disposable product. Indeed, electroclash is not music that requires headphones -- the sounds are thin, the production values are often rather Fisher-Price, and the singing is best digested without too much scrutiny. As such, the old-guard electronic music journals like XLR8R, URB, and Mixer -- magazines that purvey the notion that techno is worthy of deep listening -- have remained largely silent on the movement.

Peaches eschews the patch
Peaches eschews the patch


10 p.m. Friday, November 1. Call 305-634-3907.
Polish American Club, 1250 NW 22nd Ave, Miami

But Tee has a spin for every barb. According to him, the music's immediacy is its greatest asset. "Electroclash by its nature is really democratic," he says. "Anybody can be an electroclash star -- you just get a rhythm box, have some stage presence, and some good new ideas and people will clear out of your way and allow you to express yourself however the fuck you want to. So of course there are going to be naysayers -- people always want to end something before it starts."

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