Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Peaches pushes the transgressive envelope even further with ‘No Lube So Rude’

Electroclash original remains direct, filthy and more than relevant

share this article

No Lube So Rude: the sound of a woman in control

Peaches is primarily known as a purveyor of transgressive, sex positive anthems that have no room for shame whatsoever. This is just as it should be, although her music might not be for the easily offended, and her seventh album is not only one of her best, but possibly her most audacious too.

No Lube So Rude is packed with hardcore punk attitude, biting sarcasm, raw electroclash grooves and is blatantly sexually explicit throughout. Seemingly, as she stares down the barrel of her sixties, Merrill Nisker feels no need to veer towards the middle of the road, declaring herself “a horny little fucker and I’ll bring you to your knees” on “Fuck Your Face” and “a woman in control of all her holes” on “Panna Cotta Delight” – which suggests that this is an album that won’t be getting much daytime radio play either. Not that I suspect she’ll be too bothered by that, as she howls “I never give a fuck” on “Fuck How You Wanna Fuck”.

Peaches also feels no need to gently ease listeners into her world, as opening track, “Hanging Titties” is unrestrained from its opening bars with its harsh groove and hysterically funny lyrics. There’s certainly no slowing down after this bracing beginning either. Peaches is clearly keen to keep it up right through to the fade out of the Gothic electro-pop “Be Love” and does so with gusto.

No Lube So Rude is no hollow shock rock attempt to wind up the squares with nothing to say though. These sleazy sounds are all about having a voice, no matter how far from the mainstream individuals might find themselves, while flying an unapologetic queer and feminist flag in a society that is keen to silence those viewpoints. In fact, after almost a decade of silence, this album is a fine return to form for Peaches and is nothing short of a musical battle standard for those refusing to conform to society’s bland expectations.

Nothing short of a musical battle standard for those refusing to conform

rating

5

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

Two decades on from Patti Smith and the original pink sheep, the anniversary edition proved again that Latitude's real headliners are rarely at the top of the bill
From Korean bluegrass to gigantic Ugandan xylophones, the global diversity of musical life is here
A championing, but also perhaps a dilution, of South African innovation
The return of a punk-era landmark of British art rock
With a danceable rock feel she displays her burgeoning creativity
The garage rockers don't do themselves justice on new album
Andy Dragazis’ musical alter-ego offers nods to legendary arranger and producer Charles Stepney
The welcome return of a foundational album of electronic minimalism