Her minimalist punk old school electro summons Run DMC and Suicide in an S and M dungeon with Chrissy Hynde on whip. In the live show, her pumped up sex rhymes on tracks like "fuck the pain away" and "AAXXX" has caused audiences to sponteniously bust out both by getting naked and getting it on.

The sassy soul shouts on her rock songs "sucker" and "hot rod" prove rock 'n' roll 2000 post is a dirty sexy woman. Whether performing alone,a duet show with Gonzales or with any number of her freak colaborators,Peaches,the hot bitch Canadian jackass entertainer, can't help but make you horny as she rapes your mind.

Peaches is our hook up to the future. Check out the Teaches of Peaches! Peaches produced beats for the upcoming Gonzalez, The entertainest. Peaches super 8 bike porn Chromezone XXX has shown in 6 independent film and video festivals across north america.

BIO 2: BY MARY DICKIE

Post-Canadian Music Week and post-Junos, late March might be the most cynical time of the year in the music scene. Musicians' faces grow steadily longer as they try to attract dwindling audiences or think of ways to sell records without radio or record companies. But then there's Peaches, a larger-than-life multimedia threat who fairly exudes enthusiasm and excitement as she plans the release of her new self-titled EP on Teenage USA. Could it just be that she's leaving town, or is there more to it?

Peaches, a.k.a. Merrill Nisker, plays in a number of band permutations, makes Super-8 films, sings, raps and teaches music and drama to kids, and seems to bring the same refreshingly positive, anything-goes attitude to it all. Live Peaches shows -- for which she's accompanied by her Roland MC505 groovebox, a "hype man" or two and films or live drawings on an overhead projector -- teeter between absolute genius and what-the-hell-is-this chaos, but there's no denying her originality, her presence or her skills at beats and rhymes, and she usually ends up winning over the most skeptical crowds. It's hard to put your finger on the style of music Peaches makes: it's sort of avant-garde dissonant punk hip-hop, with sassy shouted vocals. But while it comes out of a machine, it's more raw punk than cold electronica, and her predominant influence might be the Cramps. "It's rock 'n' roll to me," she agrees, sipping a happy-hour vodka at the Cameron. "My machine is called the MC505, but I'm like, 'No, it's the MC5.'"

That little machine has liberated Peaches and her music in a number of ways. "It's so fun, like playing [video games] or something," she says. "I can sit it on my bed and just play with it. It's everything, my whole set. I wore it on a backpack in Europe. There's really only this little chip, and if I had that I could grab a 505 in any city and put it in and all my music would be there. I could travel like a spy. "I don't know why people want to add gear all the time. I started out using all these small samplers and drum machines, and when I played live I felt like a tech-head. And I was so not into that, worrying about which plug went into where and if things were going to work. So I thought, 'Fuck it, I'm going with one thing, I'm going to learn it, I'm going to do what I want and make it rock 'n' roll.' " And so she did, starting with a European tour last year with her frequent musical partner Jason Beck, with whom she played in the Shit. ("We threw everything we knew about music out the window and started there. Peaches kind of started there, too.")

About the trip, she recalls, "We travelled from Paris to Berlin, just showing up and plugging in. I bought the 505 and went to Europe not knowing how to play it -- I just kind of played it like a synthesizer, using the keyboards. Jason played CD players; it was this minimal thing. But when we played Berlin, they really liked us." That led to Peaches being signed by Berlin's Kitty-Yo Records, which will put out a 12-inch in May and a full album in September, and in July she's moving there. But in the meantime she's celebrating the release of Peaches -- which began not with a machine but with an electric guitar. "The first three songs -- 'Lover Tits,' 'Cum Undun' and 'Sucker' -- all came from rock; they have live drums and a raw garage vibe," she explains. "I usually just play the same riff for a really long time and sing over it six different ways or whatever, and then I pick what's necessary and throw away the rest. With the more electronic ones, although it seems programmed, everything's pretty improvisational. It can move around until I put it down, and then I'm not going to play it exactly like that ever again." In case you didn't notice a theme in the song titles, Peaches unabashedly turns her attention to sex in the lyrics, chanting "Fuck the pain away" in one and whispering "Suck and let go" in another.

"I'm just being totally natural, saying whatever's coming out," she says. "To me, music and sex just kind of come out the same way. I'm not trying to be shocking; I'm just saying, 'Here, this is what I want to sing about.' "I'm in my 30s, at my sexual peak, and I'm totally feeling it. I'm into talking about that, and what a cruel joke it is that a man's sexual peak is 18 and a woman's is 30 or 35. We got the better peak, but we've got to use it, and I'm making the most of it. That's probably where a lot of the lyrics come from." Saturday's release party will be characteristic multimedia Peaches, with DJs representing her music's roots in garage rock, minimalist techno and hip-hop, live drawings by Shary Boyle and films from the 245 collective, who got her involved in making both films and soundtracks. "I never thought of visual things until a year ago, and it's been a real awakening," she says. "I believe everybody's multimedia -- you've just got to take what you know and put it in some kind of structure.

"First I was a singer -- I started playing acoustic folk music in Mermaid Cafe -- then it was avant-garde jazz shit going crazy, and then it was the excellent rock 'n' roll sex vibe. I get a lot of 'Oh, you've changed,' but I just feel like this is really natural."