i’m sorry that sometimes i’m mean

Kimya Dawson

Rough Trade Records

…

i’m sorry that sometimes i’m mean

Kimya Dawson

Rough Trade Records

Garfield

Adam Green

Rough Trade Records

Prepare yourself for introspective weirdness: The masterminds/unusually lucky fools behind novelty low fi New York City duo the Moldy Peaches are releasing solo albums.

The Moldy Peaches consist of 21-year-old drummer/guitarist/vocalist Adam Green and 30-year-old guitarist/vocalist Kimya Dawson, who often perform wearing a Peter Pan outfit and bunny costume, respectively. Having met in 1994, they released their self-titled debut last year on Rough Trade after recording on a four-track in Green’s parents’ basement and in his Manhattan apartment for six years.

Dubbing their sound and ethos “anti-folk,” the Peaches made an album of delightfully raunchy, youthful anthems, including such gems as “Downloading Porn with Davo” and “Who’s Got the Crack?” This album, which could be considered immature and nonsensical by many, yet hilarious and exuberant by others, warrants praise for its refreshing honesty and utter lack of pretense. The Peaches neglected any sort of cosmetic sound polishing or sophistication, playing and singing haphazardly and even covering “Little Bunny Foo Foo.”

All things considered, Dawson and Green have now released decent solo efforts. Dawson’s album, i’m sorry that sometimes i’m mean, showcases her wry lyrical style over repetitive acoustic guitar and minimal or no percussion. This collection of songs, which Dawson began recording in 1999, also incorporates other sounds such as tape hissing, bells and the distorted voices of pull-string dolls on the track “Talking Ernest.”

With lyrics such as “I lived alone/ so I took him home/ he doesn’t love me/ but he keeps me company/ everything’s alright,” from the track “Everything’s Alright,” Dawson seems to be assessing her youth and past relationships. She also includes the track “Hold my Hand,” a heartbreaking tale of child abuse and the lullaby-like tune “Sleep.” Dawson, her low voice cracking at times, as if on the verge of all-out sobbing, also throws a few surprises into this often-melancholy album. The bonus track, “So Far to Go,” which sounds even fuzzier and lower-produced than the rest of the album, has her playing a livelier acoustic melody while hopefully shouting and squealing out the names of the 50 states along with other lyrics such as “I’m goin’ outta here, I’m goin’ home.”

Green’s album is the less mature of the two, which is fitting considering that he is almost 10 years younger than Dawson. He possesses a more absurd and deadpan lyrical style, and often seems more cocky and sure of himself. With his lewd and unapologetic constant sex references, Green is more unaffected and less sensitive than Dawson. Garfield features guest musicians and vocalists, along with Green’s alternation between electric and acoustic guitar and occasional electronic beats and voices. This album drags a bit, with lyrics like “an’ your feet are trudgin’/ you’re always acting like a curmudgeon,” over a debase, tired melody. The track “Baby’s Gonna Die Tonight” hastens the pace, with choppy, harmonized lyrics and sung in time to mid tempo drums and a dirty-sounding electric guitar.

Bottom line, these two albums show the dichotomy of the Moldy Peaches, giving fans a greater insight into this band’s dynamics. Dawson has created a sincere and reflective album, providing an explanation for the more sensitive Moldy Peaches songs, while Green’s effort shows the source of the Peaches’ energy and irreverence.