On a sunny day in Los Angeles, we met up with Creevy at Mono Records and experienced a chain of freakish events that involved almost stepping in poop, stumbling upon a lost She Shreds hat (what?!), and talking about being as real as possible over Vietnamese spring rolls. Released by Secretly Canadian on the day of the presidential inauguration and written alongside new bandmates Sasami Ashworth (keys) and Tabor Allen (drums), the subtle genre-blending techniques of hard-hitting power chords met with tasteful upstrokes and nuanced melodic riffs caught our attention. Her passion for the instrument while using her voice for a greater good is undeniable on Cherry Glazerr’s third album, Apocalipstick. And yet, none of that matters to her as long as she can play guitar. I’m just a professional bullshitter.” Creevy says what she feels, does what she wants, takes action, identifies injustices-and then she spits it all out in the rock and roll gems that are Cherry Glazerr.Īt 20 years old, Creevy is quintessential Los Angeles: previously described as a teen fashion queen, rock icon, and actress/model. ”But I know that, so I don’t pretend to know what I’m talking about. “I don’t know anything more than anybody else does,” says Creevy. It’s hard to describe Clementine (pronounced clem-en-teen) Creevy, songwriter, guitarist, and singer of Cherry Glazerr.Ī part of me wants to tell you that her wisdom exceeds her age, while another part of me sees Creevy’s confident outlook on society and her creative expression as a reflection of a generation that is extremely vocal and active against what we choose to not see rather than that which we’re told doesn’t exist. Subscribe here and receive your copy of She Shreds’ 13th issue with your subscription. I went through a lot of personal changes that were really necessary for myself recently, and I feel like that’s really opened my music up in a huge way! A lot of it is different, it has a new spirit because that’s just what happens when you change.This feature originally appeared in the twelfth issue of She Shreds, published in April, 2017. I think that challenging myself often comes from being as open as I can in collaborations I can get very specific and tunnel vision about what I want the music to be, so collaboration is where I challenge myself and where a lot of really great stuff comes from. That makes me wanna cry because it’s really sweet! I feel there’s a real symbiosis between my fans and I. You trust your fans and they trust you - does that make it easier to challenge yourself, and them? I think I’ve set a precedent for being the type of artist who is a bit unexpected – I’m always exploring different types of sounds, and I think I’ve guided people to expect that. I do have this sense of melody and harmony that’s very specific to me, that’s what the north star is across my music. What are the red threads that connect your current music to old Cherry Glazerr?įor some reason, no matter what, it always sounds like me - even when I try to do something very different! As an artist, you always think you’re doing something so different when really it’s just more of you. It’s really heavy but it’s amazing, still really fun and stylized. I’ve written songs borne from watching Mysterious Skin, which is this early ‘00s movie with Joseph Gordon Levitt. It’s kind of nerdy but I’ve been watching a lot of movies then running to the studio with whatever feelings have come up. I’m having fun with it, it feels really true to my spirit right now – last night I was up until 3am recording a crazy, like, Deftones rock song! I just tried to really follow my muses, and not worry about everything around ‘changing your sound’. I have a philosophy to trust my audience, and if I wanna make changes they’ll be ready for those changes. I was listening to a lot of alternative house and techno weird alt-pop, lots of beats-based music, and I just couldn’t help but incorporate that into the new sound. It’s given the show a nice variation that I actually feel like it was lacking before, now that I’m thinking about it… We played a bunch that isn’t even released yet, and one of the tracks I’ve been doing with Four Tet went over really well.įour Tet! Exciting – what else can we expect from your new sound? I think it actually pairs really well with the old material, because it’s just as heavy and very sonically aligned with stuff that I’ve done in the past, but it’s very different production-wise. Your new music has a slightly more electronic skew compared to your older stuff – how did it feel playing live? But you just fall back into it when you start playing the show, like muscle memory. I was like, oh man, I think I might have forgotten how to play guitar. Kind of weird, cos it’s been slightly normal? We had a show a few weeks ago at the Greek Theatre, and that’s my favourite venue ever.
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