Cherry Glazerr released their fantastic third album, Stuffed & Ready, earlier this month. Today, the LA garage-pop outfit stopped by SiriusXM Studios, where they covered LCD Soundsystem’s “Time To Get Away” from Sound Of Silver. Their rendition maintains the original track’s minimalist funk, but with fuzzy, lo-fi edges. Clementine Creevy channels James Murphy’s … More »
The new Cherry Glazerr album, Stuffed & Ready, is incredible. Clementine Creevy has mastered the art of writing gleaming, glamorous alt-rock songs with ugliness at their core. It’s one of the best possible outcomes of all this late ’90s nostalgia we’ve been cycling through lately. More »
Sasami Ashworth is determined to make it. In a sense, she already has. She’s scored short films and commercials, taught in an elementary school, and collaborated in the studio with artists like Vagabon, Hand Habits, and Wild Nothing. And for two-and-a-half years she was a member of Cherry Glazerr, playing the synths that leveled out … More »
Whoa, BONUS cherry season:
LA-based indie rock trio Cherry Glazerr is returning with their third LP, Stuffed & Ready, on February 1 via Secretly Canadian. The news arrives with an animated video for the song “Daddi,” in which a lone outsider is simultaneously attacked and worshipped. The clip’s stark, strangely unsettling style complements Clementine Creevy’s gentle verses and cathartic choruses. It was directed by Danny Cole, who you may know as the creative director for Portugal. The Man.
Secretly Canadian is offering an exclusive on pre-orders that include a limited red opaque vinyls, CD, poster, temporary tattoo, and most distinctly, a custom-designed hip pack (because cheap tote bags are obviously passé). Grab those things here — and stream “Daddi” down below:
Stuffed & Ready tracklisting:
03. Wasted Nun
04. That’s Not My Real Life (feat. Delicate Steve)
05. Self Explained
07. Juicy Socks
09. Stupid Fish
Cherry Glazerr on tour:
02.13.18 – Washington, DC – U Street Music Hall
02.14.18 – Philadelphia, PA – First Unitarian Church
02.15.18 – Boston, MA – Brighton Music Hall
02.16.18 – New York, NY – Bowery Ballroom
02.19.18 – Burlington, VT – Higher Ground
02.20.18 – Toronto, ON – Velvet Underground
02.21.18 – Detroit, MI – El Club
02.22.18 – Cleveland Heights, OH – Grog Shop
02.23rd – Chicago, IL – Bottom Lounge
02.24.18 – Columbus, OH – Melted Music Festival
02.26.18 – Minneapolis, MN – Fine Line Music Café
02.27.18 – Kansas City, MO – The Record Bar
03.01.18 – Englewood, CO – Gothic Theatre
03.02.18 – Salt Lake City, UT – Kilby Court
03.04.18 – Santa Cruz, CA – The Catalyst
03.06.18 – Portland, OR – Wonder Ballroom
03.07.18 – Seattle, WA – Neumo’s
03.08.18 – Vancouver, BC – Rickshaw Theatre
03.10.18 – San Francisco, CA – The Independent
03.11.18 – Los Angeles, CA – Troubadour
03.29.18 – Dublin, IE – Whelan
04.01.18 – Glasgow, U.K. – Stereo
04.02.18 – Manchester, U.K. – Gorilla
04.03rd – London, U.K. – Brixton Electric
04.04.18 – Bristol, U.K. – Thekla
04.06.18 – Paris, FR – Point Ephemere
04.08.18 – Luxembourg City, LU – Rotondes,
04.09.18 – Brussels, BE – Botanique
04.10.18 – Hamburg, DE – Molotow
04.11.18 – Copenhagen, DK – Vega
04.12.18 – Stockholm, Sweden – Melodybox
04.13.18 – Gothenburg, SE – Oceanen
04.15.18 – Berlin, DE – Musik & Frieden
04.16.18 – Cologne, DE – Blue Shell
04.18.18 – Amsterdam, NL – Bitterzoet
“Juicy Socks” is Cherry Glazerr’s first release since last year’s Apocalipstick, their second album and first for Secretly Canadian. On that record, the California trio made their foray into guitar-heavy, psychedelic punk. The new single is heavier and certainly more beholden to ’90s alt rock (think the Breeders or Plumtree). But Clem Creevy doesn’t stray … More »
In this space in past years, I’ve usually written about which music-video directors had the best years. It’s a variation of the auteur theory, as visionaries like Nabil and Hiro Murai have used artists as vehicles for their ideas and approaches. This year, though, it feels like the artists themselves who are driving things, and … More »
Although they’ve carved out a unique niche for themselves in the indie community and further solidified their singular take on riff-driven rock music with 2017’s Apocalipstick, Cherry Glazerr aren’t a group to rest on their laurels. With keyboardist Sasami Ashworth having soundtracked short films Light Therapy and Nixon, and guitarist Clem Creevy having contributed to Tyler, The Creator’s Cherry Bomb and Death Grips’ Bottomless Pit, it’s apparent that the group harbors no trepidation when it comes to ventures outside of its insular indie-rock bubble.
I sat down with Sasami, Clem, and drummer Tabor Allen before their set at Des Moines, Iowa’s Vaudeville Mews, a roost for veteran and burgeoning indie rock bands alike, and we spoke about the protean nature of a touring band’s songs, what it means to be an “experimental” group, along with a panoply of other topics. Never a group to take themselves too seriously, Cherry Glazerr are just as alacritous to share their insights in the music industry as they are to find the humor in their visibly nervous interviewer’s questioning style.
How are you guys? How’s the tour been?
Clem: It’s been good.
How long have you been on tour now?
Clem: Six months.
Sasami: More like eight.
Clem: What is this, September? Yeah, eight months.
But the shows have been good?
Clem: Yeah, we love it. We’re road dogs.
So you’ve been touring to support Apocalipstick, have the songs taken on a new meaning now that you’ve been touring with them as opposed to writing and recording them?
Clem: That does tend to happen. They definitely take on new meanings. It seems like when you write a song, you’re projecting what you’re feeling at the time and your feelings are bound to change… I think if they didn’t change then that would be problematic.
Why is that?
Clem: I don’t think I would want to be feeling the same way all the time.
One thing I admire about the band is that between the last album and Apocalipstick, even though you moved to a new label, you didn’t compromise your sound. I think that’s something a lot of bands struggle with; when they sign to a bigger label, they feel this pressure to put out a more accessible album or dilute their sound, but I don’t think that’s the case with Cherry Glazerr.
Clem: Thank you, I’m glad you feel that way.
But I’m curious if you got any notes or suggestions from Secretly Canadian when you were recording the album.
Clem: For the most part, they’re really easy to work with on that front, they let us be super creatively open and the process is very much respected on their end.
How’s your experience been with them as opposed to Burger Records?
Clem: They’re awesome, they’re a good label, they’ve done a very good job.
Sasami, I know you’ve worked on a few short films, doing soundtracking and sound editing, and you’ve also studied classical music. I’m curious if you notice any kind of underlying similarities between doing that and working with a rock band.
Sasami: Mostly this note. [Hums a high pitched note]. It’s in both a lot. I think it’s an A.
Clem: B sharp.
And so, across the board, you always go to that one [note]?
Sasami: Yeah, like in every genre.
The band seems to have this association with lots of experimental acts (Death Grips, Tyler, The Creator). Would you consider Cherry Glazerr to be an experimental band?
Clem: Yes, especially when it comes to playing darts. I’m talkin’ underhand, I’m talkin’ left, I’m talkin’ right in between, I’m talkin’ upside down.
Sasami: Under the legs.
Clem: Under the legs.
So you’ve got all the bases covered, just experimental across the board. Is that a conscious effort on your part to strike this balance between experimental and also a very accessible rock sound?
Clem: What do you mean “balance?”
You have, certainly, very experimental elements, but also conventional rock elements as well and I think you find a sort of middle ground between the two. Or would you disagree?
Clem: I don’t disagree.
Sasami: We like to have fun and we like people who come to the shows to have fun, so I think that’s just what happens.
Clem: Yeah, I don’t disagree. We try not to be too didactic. I think, naturally, it becomes that. Of course, you can’t help but intellectualize some of the stuff that you’re doing, but it’s a nice practice not to.
Tabor: I think there’s experimental music, which is, like, a genre of music, almost like a codified thing in and of itself, and then there’s an openness to exploration and maybe not feeling limited by genre. And that’s experimental in its own way and in a different way, and I feel like that applies more to us.
Sasami: Also sexually.
Sasami: We experiment.
Is that offstage or is that something we’ll see tonight [during the show]?
Sasami: All bets are off.
Clem, you provided the guest vocals on Death Grips’ “Giving Bad People Good Ideas,” would you mind talking a little bit about your experience with them?
Clem: It was super funny, I walked into this all-pink room, there was a giant pile of candy and there were fluffy teddy bears everywhere… they were all smiles.
Death Grips were or the teddy bears?
They seem like pretty affable guys. Did they have any kind of significant or lasting influence on you as a musician?
Clem: I like their music, yeah. I don’t know if they were influential on me, I suppose I’ve listened to them before, so in that sense, yeah, because you’re kind of influenced by everything you listen to.
And you got in touch with from a festival, being on the same festival as them. Is that right?
Clem: I’m sure we have at some point.
Sasami: We do a lot of festivals.
Clem: I saw them play at The Wiltern… in L.A. a few years ago, and it was great.
But that wasn’t how you got in contact with them?
Clem: No, we were actually recording at the same studio and they were next door.
Is that right?
Clem: And they were like [nonsense MC Ride impression], and I was like, “Cool.”
Although the group is seemingly perpetually on tour, Cherry Glazerr show no signs of wear as their exuberance and humor abounds in the short time I spoke with them.