“I wanted to craft a record that didn’t hide behind as much obfuscation as the previous records,” she says. She found a balance between being brutally honest with herself and appreciating the work she was making. Sometimes I struggle with loneliness even when I’m not alone.”Ĭreevy didn’t set out with a theme in mind, only the idea that she wanted to be as direct and honest as possible. “That’s why the album turned out to be this homey, direct and self-effacing album. I had gotten back from tour and wrote a large portion of the album in my own home, which was nice because I had a second to collect my thoughts,” she says. “So isolated I talk to the voice in my head/I’m so isolated my body is taking a leave,” she sings on “Isolation,” a comparatively downtempo cut with rough edges reminiscent of Pavement. Rather than double down on political outcry, she mined her own feelings of inadequacy and loneliness. He’s killer.”ĭelicate Steve aside, she crafted Stuffed & Ready as a remarkably self-contained effort. When experimental-rock guitarist Delicate Steve reached out to Creevy to express his admiration for her music and willingness to collaborate, she jumped at the opportunity and sent him the beginnings of the full-throttle “That’s Not My Real Life.” He sent an imaginative, elliptical guitar solo back. She re-enlisted de la Garza and, over the course of six months, recorded Cherry Glazerr’s most straightforward and introspective album to date. “We’ll probably pick our favorite songs and do an EP.”īack in L.A., Creevy set to work on Stuffed & Ready, determined to whittle her songwriting down to its most essential parts. Its final destination is not altogether clear, but Creevy doesn’t intend to make it Cherry Glazerr’s great lost album. “I love that record, but it wasn’t what I needed to put out at this time,” she says. That was one of the best experiences ever,” she gushes. “John taught me so much about the record-making process and trusting yourself and experimenting. She loved how it felt live and immediate. Between every barbed riff and manic drum fill, Creevy kicked at whatever boundary was closest at hand, be it gender roles, consumerism or social-media-induced vapidness.īetween tours, she slipped into John Vanderslice’s Tiny Telephone Studios in San Francisco and came out with a new album. Released on the same day as Donald Trump’s inauguration, Apocalipstick was a furious, feminist indie-rock effort that scanned as a cross between the Breeders and Paramore - hardly a coincidence, given Creevy’s decision to use Paramore and After Laughter producer Carlos de la Garza. The label opted to reissue both Papa Cremp and Haxel Princess in addition to releasing sophomore record Apocalipstick. Her star rising, Creevy signed to left-of-center label Secretly Canadian, home to William Eggleston’s musical exploits and avant-garde pop enigma serpentwithfeet. Creevy seemed like a ready-made rock-and-roll it girl for the Tumblr generation, the normal teenage demands of finishing high school eclipsed by appearances in V Magazine and Vogue (the first before her eighteenth birthday) and her status as muse to photographer Petra Collins. Things happened quickly for Cherry Glazerr. The result, “Had Ten Dollaz,” remains among the band’s most popular cuts.) (A few months later, Yves Saint Laurent creative director Hedi Slimane came calling with a songwriting commission for the YSL fall 2014 runway show. Having caught the ear of label co-founder Sean Bohrman with Soundcloud recordings under the moniker Clembutt, she assembled Cherry Glazerr (named after Southern California radio host Chery Glaser) and released her debut, Haxel Princess. Now 22, Creevy emerged among Burger Records’ preeminent wunderkinds with 2013’s Papa Cremp, a compact lo-fi package of frayed, attitude-heavy rock songs about her cat, grilled cheese and life from inside her bedroom. “I wanted to be a real estate agent, because I like a house with a view, and I like talking to people.” “I’ve always had a dream to sing in front of stadiums of people, but I don’t think I said, ‘I’m ten years old, and I’m going to be a famous musician,’” she says. She was ten.Īfter that, it was either music or real estate. Her uncle rose to the occasion and gave her a guitar. Theirs was no more musically inclined than the average household, but music came organically to Creevy. In their defense, Creevy’s parents were responding to their daughter’s passion the best they could. You might end up with four copies of Kurt Cobain’s autobiography one Christmas,” she says with a laugh. “When you’re the music kid of the family, every Christmas you get books about music or books about rock. Raised by writers - her mother is a novelist and her father writes for TV - Creevy remembers Christmases weighed down by music-focused tomes. Cherry Glazerr frontwoman Clementine Creevy does not need another music book.
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