The youthful musicians behind Cherry Glazerr have made quite the name for themselves in recent years. While a good degree of the band’s notoriety comes from the extreme youth of its members in contrast with how well-developed their sound is, the group has also been following along the heels of some major indie acts very recently. Just last year, the group opened for Wavves and Best Coast’s joint “Summer is Forever II” tour.
The tour exposed many new ears to the already burgeoning musicians, heightening interest in anticipation for the group’s next album. After three years in the making, said album has finally been released, under the cheeky title of “Apocalipstick.” This follows their 2014 release of “Haxel,” which was praised both for its occasional light hearted nature and mature songwriting.
“Haxel” was an album of raw emotion that wasn’t afraid to blend silly lyrics with serious attitude. “Apocalipstick” is just the same, but with a massive amount of polish and development. This album broadens its appeal to a much wider audience, where “Haxel” was far more niche and harder to appreciate for a mass audience. With some minor changes here and there and some massive overall improvement, “Apocalipstick” could be just the album to allow Cherry Glazerr to break out into the broader indie market.
The basic sound of the album isn’t too difficult to describe; gritty guitar with moderate amounts of overdrive, very deliberate drumming that stays mostly up tempo but with the ability to drop speed and build suspense, and the signature vocals that are either a massive draw or strong deterrent depending on who you ask. Clementine Creevy, the only current original member of the band, provides the vocal talent for Cherry Glazerr. Her voice is characterized as much by its youth as it is by her breathy vocal trills that go into a majority of the songs. It’s a feature that is either loved or hated, and may be a dealbreaker for many potential Cherry Glazerr fans.
Regardless of the prevailing opinion on Creevy’s vocals, it is impossible to deny that one major change on this record is the addition of highly capable post production and mastering. All tracks feel very well-balanced, everything syncs up very nicely, and the recording is as clean as it needs to be without losing its self-appointed neo-grunge aesthetic. The band has clearly started to play around with post processing on the vocals and other instruments, adding multiple layers and effects that complement each track incredibly well.
Another improvement is found within the overall songwriting structure. It’s difficult to pinpoint what exactly made it happen, but the songs on the album sound entirely more deliberate and complete as opposed to those on “Haxel.” Though largely a matter of personal preference/taste, the songs on “Haxel” felt more like the product of a jam session or loose improvisation that had been slapped together and printed. They lacked certainty and backbone, feeling more like a half-serious attempt at a song than an artistic work with meaning and emotion. Perhaps that’s phrased harshly, but the general idea is that with “Apocalipstick,” this feeling is much less prominent. The songs have matured, as well they should. The band has evolved subtly into more experienced musicians through touring and several years of experience.
Overall, “Apocalipstick” is a great evolution for a group of incredibly young, talented musicians. Though their sound may be divisive, it’s hard to deny that Cherry Glazerr has got something special on their hands. Even if they’re not about to blow up like many other bands in the scene, one thing’s for certain: Cherry Glazerr is here to stay.
