by / January 21st, 2017 /

Cherry Glazerr – Apocalipstick

 1/5 Rating

(Secretly Canadian)

Clementine Creevy hasn’t even hit twenty yet, but the nineteen year-old front woman of Cherry Glazerr has created a record that speaks to the dream-state and sometimes anger of the modern twenty-something experience.

With a sound that falls somewhere in between The Runaways and Carly Rae Jepsen, the band worked with Joe Chicarelli and Carlos de la Garza to create Apocalipstick. Bringing experience from acts such as The Strokes and Tegan and Sara, the collaboration has resulted in a record that is sometimes dream-pop and at other times fuzzy rock. 

Creevy’s vocals seamlessly weave in to create narratives about her life as a young woman. ‘Told You I’d Be With the Guys’ is a refreshing opener, Creevy sings about having previously neglected female friendships to get ahead in life, and then realising the joy of platonic love.

Elsewhere, ‘Trash People’ is pure dream-pop, but as an interesting contrast, discusses sinking into the mundane depravity of being a gross person with a room that smells like an ashtray. Lyrically, it aligns this with the experience of being an artist with the line “we can’t live a nine-to-five,” which is kind of funny coming from a songwriter who has just graduated from high school.

This youthfulness is categorised by short songs (nearly every song on the album is under the three-minute mark), ideally suited for the short-attention spans Creevy’s generation is renowned for.

Cherry Glazerr isn’t afraid to touch on the topics that are becoming ever-present for younger generations, such as feminism and the struggle to make a living from artistic pursuits. The brevity of the songs, along with focused bass and drums from Sasami Ashworth and Tabor Allen respectively prevent the album from sounding whiny, and typically keep it something that can be danced to.  

Even the songs that come closer to ballads stay from away from dreary, such as a sad song about love that has edge and is expressed in explosive language in ‘Nuclear Bomb.’ Similarly, pain is channelled in ‘Only Kid on the Block’ using Ashworth’s talents on bass guitar to ensure that a slow song maintains its place within the album as a whole.

Cherry Glazerr’s second album is to be admired for its grown-up sound about adolescent themes, and it will be interesting to see how their sound progresses as the band matures.

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