It’s been four years since Cherry Glazerr released her resplendent third album Stuffed and Ready,
but Clementine Creevy has been in no rush. “I’ve spent these years taking a hard look at myself,
at my relationships, and writing about it,” she says. “I guess I’m coming to terms with a lot of
my bullshit.” Cherry Glazerr has been on the road more often than not since Creevy was still in
high school, and when the pandemic hit, she immersed herself in a static existence she’d been
deprived of. “When you’re always leaving, you don’t have a great sense of where your
relationships stand, romantic or otherwise. You’re not thinking about the work that goes into
maintaining them,” she says. 

Creevy describes Cherry Glazerr’s ambitious new album, I Don’t Want You Anymore, as some of
her most personal, raw music to date, a collection of songs that elaborate on this period of self-
reckoning. It’s the first she’s produced since Cherry Glazerr’s garage rock debut, Haxel Princess,
released nearly a decade ago when Creevy was a teenager. That album made Cherry Glazerr a
Los Angeles mainstay act, and its follow up, 2017’s Apocalipstick, put her on the national map.
Cherry Glazerr’s rough and tumble sound coupled with Creevy’s witty, sarcastic, occasionally
self-deprecating lyricism made her a joy to watch live, her energy unmatched by the coolly
detached bent of indie rock at the time. 

Creevy describes I Don’t Want You Anymore as a “mature” album, moreso in reference to her
personal growth than a reflection of the record, which in true Cherry Glazerr fashion is best
described as Extremely Fun. To make it, Creevy linked up with producer Yves Rothman, who’s
best known for his work with Yves Tumor. “I knew I had to work with him,” she says. The
collaboration began with a cover of Metallica’s “My Friend of Misery” and grew into this new
record, which Creevy considers to be Cherry Glazerr, fully-actualized. “The songs on this one
are songs I’ve dreamed of making,” she says. 

Lead single “Soft Like a Flower” exemplifies that growth. A murky guitar riff inaugurates the
track, before Creevy’s unguarded vocals enter the mix. She sings of a consuming obsession and
is joined on the chorus by longtime bandmate Sami Perez. “I’m high on your something,” they
wail. “I like you killing me/ I like you killing me/ I like you killing me.” It’s proudly emotive,
what Creevy calls an “Evanescence moment.” “It’s a real ‘losing your fucking shit’ kind’ve
vibe,” she says. “I wanted this album to be just heart and soul. Completely exposed.” 

I Don’t Want You Anymore uses the element of surprise to its advantage; each track is a radical
reimagination of what Cherry Glazerr is and can be. “Bad Habit” opens with a spiraling vocal
loop that Creevy began recording at home and it expands into a delirious downtempo dance track
without ever invoking a guitar. “I can’t wait to play that one live. Whenever I’m free of a guitar
and I can just sing… I love having those moments on tour,” she says. The subsequent track,
“Ready for You” is sung in funky staccato and the initially spare bassline on the opening verse is
eventually overtaken by a massive, staticky guitar riff that reminds you this is, at its heart, a rock
album. “At the start of the pandemic, I was writing a lot in the box, what I call ‘computer music’
since I’m technologically challenged,” Creevy says. “It was fun to experiment, but after a while,
I just really missed rock. I love rock music – I love how it’s cathartic and brash and sometimes a
little dumb.”

Though Cherry Glazerr’s latest offers some insight into Creevy’s private moments, it’s also a
humorous album, one she hopes people don’t take too seriously. “This was a really therapeutic
record to make, but it’s also self-aware, and I hope, funny,” she says. On “Touched You With My
Chaos,” the album’s outright loudest song that begs for a scream-along, Creevy becomes a wildly
dramatic narrator, one who slashes the tires of her own car, accompanied by strings and the
unexpected squawk of a trumpet. She wrote it after watching Gregg Araki’s Mysterious Skin, and
wanted to mimic the sense of desperation the film inspires. “I said that I loved you!” she howls
over and over again on the chorus. 

Movies have always played a role in Creevy’s songwriting, and many of the songs on I Don’t
Want You Anymore can be described visually. When she wrote “Sugar,” Creevy pictured playing
it in a dark, seedy club, her deadpan vocal delivery mirroring the grim atmosphere. “That song
tickles the part of my brain that loves driving really late at night,” she says. These are songs to
soundtrack the listener’s life, a score to suit any occasion. The titular track makes a promise to an
unnamed other, but the repeating lyrics on the bridge could just as easily serve as a love letter to
listeners: “In the end, you’re always holding me.”