By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Kimya's 20-year-old partner Adam Green, who grew up in neighboring Mount Kisco, was at ease, and I enjoyed the kids a lotthe pictures two of them drew me are on my office door. But Kimyadressed in unlaced platform sneakers with unmatched socks, Bermudas that showed off the tattoos on her ample calves, a T-shirt I don't remember, and her big poofy yellow Afrowas in her element. She spent a fair portion of the afternoon buried in childrenif not physically, on her lap, then mediating disputes or praising art projects or doling out turns on the guitar. At the same time she and Adam told their story. The generationally separated distant acquaintances got close in 1994, when Kimya went to work at the Mount Kisco record shop, Exile on Main Street, after dropping out of Olympia's Evergreen State College in a dispute over sexual harassment protests. She would drive her young friend to the city for shows and they'd hang out in his basement making music. There was a "Little Bunny Foo Foo" seven-inch in 1996 and an 11-song demo in 1998, with the rest of what turned into their eponymous debut cut in 2000, after Kimya had done another residency in the Northwest and quit drinking. Kimya and Adam have both recorded solo albums; the Moldy Peachesoccasionally still a duo, more often now a six-piece filled out with their antifolk buddiesis for the songs they write together, most often contributing alternate lines in turn, as in a party game William Burroughs might have invented for Peter Orlovsky.
It was raining, so the fluorescent plastic vehicles and swing sets and playhouses in the yard went unused as kids crowded indoors. Adam and Kimya played me the antifolk anthology they'd compiled, due out from Rough Trade early next year, discreetly skipping the occasional dirty word and the track that begins with the nipples of the female singer's girlfriend poking out of the Mediterranean. But it was hard to carry on a coherent interview, so we went for a tour of sleepy Bedford Hills and happening Mount Kisco. I took in the big secluded place where Adam used to livehis shrink and prof parents now have an apartment in Manhattan, as does heand was deeply impressed by the greensward surrounding the public schools they'd attended. Eventually we returned to Kimya's, where her mom bid farewell, warning affably, "Today we let you work. Next time we're gonna make you play."
Some may see the Moldy Peaches' childishness as icky affectation. But while there's no arguing with squeamishness, an affectation it clearly is not. It's deeply imbedded in someone who has spent the better part of 30 years waking up in a house full of kids, who as a 21-year-old dropout from one of the most permissive colleges in civilization could establish a fruitful creative relationship with a superbright 13-year-old wiseass. (Adam's parents sent him to study film at another progressive bastion, Emerson in Boston. He didn't last a term. "I don't even care about film. I care about movies, not about film. And I don't even care about movies.") Thus the Moldy Peaches' penchant for performing in costumetraditionally, sailor or Peter Pan for him and bunny for her, although at the Mercury Lounge Thanksgiving Eve Kimya thanked her Aunt Patrice for her new designs, including the cape that had Adam zooming about like Captain Marvel Juniorgrows out of a lifetime of dress-up; they even record in costume. Thus a seven-inch that went: "Little Bunny Foo Foo/Hopping through the forest/Scooping up the field mice/And bopping 'em on the head." Thus songwriting as party game.
And thus songs that hang growing up upside down till it shows its underpants. Some capture an innocence unknown to *NSync: "My name is Jorge Regula/I'm walkin' down the street/I love you/Let's go to the beach." Some unleash the id with an intimacy that could make Macy Gray blush: "Tried to buy your love but I came up short/So I fucked a little waitress in return for a snort." This is if-it-sounds-good-say-it music, played and sung with a pretty/noisy imprecision that transcends the gap between folk and punk like nothing since The Velvet Underground, which had the advantage of not knowing the gap existed. Its lyricism is heartbreakingso tenuous, so vulnerable, so palpably subject to change. But the same record is also funnier than "Love and Theft". First time through I merely felt privileged to reaccess the punk miracle. Fifty plays later I think I've never heard anything like it, though there's some Jonathan Richman in there and some might cite Beat Happening. To me, everything cloying and manipulative in that defunct piece of in-group politics seems effervescent and loving in this cult band a-borning. I hope they can do it again, forever and ever. But I'm not innocent enough to think anything so young can last, even till the next record.