On I Don't Want You Anymore, Cherry Glazerr successfully embody the private suffering that precedes any semblance of healing.
Nothing can clear a musician’s schedule for self-reflection like a pandemic. When society shut down, rehearsals fell to the wayside and the din of fans storming barricades faded away, creatives were left with three companions—the metaphorical me, myself and I—indefinitely. It’s company that Clementine Creevy met, consoled and cross-examined when writing, a labyrinthine trek through the crevices of the frontwoman’s psyche.
As Creevy counts her perceived shortcomings, much of the record assumes a slouched, defeated posture, reflected in Creevy’s cohesive assortment of rock styles. Her thoughts dart in tangent with subgenres, curdling to leaden grunge or perking up—if only for a moment—with glimmering synth-rock at the mention of her treasured “Bad Habit.
“I could eat you like a pill,” she muses on “Eat You Like A Pill,” one of the album’s many allegories that equates adoration to addiction. Power lingers in “could,” a loaded little modal verb with the power to catapult Creevy to a momentarily high or torpedo her well-being for the foreseeable future. But Cherry Glazerr never linger in this limbo for long.
Suckers for tortured romance will recognize this unnerving joy that accompanies being batted around; “I like you killing me,” Creevy confesses in circles on “Soft Like A Flower,” an acknowledgment that it’s often more satisfying to endure piercing heartache than to feel no adrenaline rush at all. Even when the title track tries to force some distance between Creevy and this faceless foe,wraps on a nebulous note.
“I’ve spent these years taking a hard look at myself, at my relationships, and writing about it,” Creevy commented about the album. “I guess I’m coming to terms with a lot of my bullshit.” Here’s the thing about bullshit—when you’re upfront about it, it’s just called honesty. There’s little more anyone can ask from an artist than their own unsightly truth. Whether Creevy wants to dress her wounds or dig her fingers into the festering gashes, it’s a rare privilege to witness anything this human.
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