![]() It’s hard because it’s under attack all the time. I very much will always continue to support D.I.Y. No, I think they were so vital in cradling a lot of my early musical exploration and experimentation. Could you have come up and for lack of a less trending word had a “safe space” to figure out your songs and your shit without them? The question I’m sure you get ad-nauseam about you being a “young woman in music” contributes to my theory that the youth are taking over Los Angeles. Your city seems better at keeping these spaces all-ages and thriving. If the space is open for more than a year I always applaud that. The nature of it is just fucking very loosely curated spaces run by kids. It’s a characteristic of the DIY scene not being a sanitized, stable establishment. It’s sad and it sucks, but there’ll just be more all-ages spaces that pop up, that come and go, that come and die. The Smell and Pehrspace are still open, but yeah, they’re getting shut down and it’s an all-ages space. Deeply influenced by Simone De Beauvoir, Creevy quotes her frequently, like in an interview with Bullet Magazine when describing the differences between female and male competitiveness-men fight for the world while women fight for men-similar to what De Beauvoir stated: “Women move clumsily through this world because it doesn’t belong to them.” When asked if she is a feminist, she doesn’t see it as a question as much of an obvious ideal for anyone with “half of a mind.Yeah. It’s so deep and everyone deals with ingrained sexism.” In an interview with She Shreds Magazine, she also goes on to say how feminism needs to be radicalized and the election proved this. Men are conditioned to be emotionally free. Every song is a roar of expression using lyrical and musical tools.Ĭreevy explains her daily struggle to not fall into the subconscious sexism that creeps up on her when unaware, stating “I wish I could be as emotionally free as men. The use of bridges and outros in the songs is heavy, adding another side of emotions towards Creevy’s words and bringing more depth to the complexities of her internal experiences. This generates an interesting variety of sounds, and makes for stimulative listening. The synth hits high notes with a gothic tone, while the guitar hits lower grounding notes. The third track, “Moon Dust” starts with an intertwining of two leading melodies between the guitar and synth, known technically as counterpoint. The first track and single “I Told You I’d Be With The Guys” is a song about women solidarity and Creevy’s experiences without it: she is the lone wolf who “lost her pack,” who wasn’t there for her “ladies” because of the innate sexism she finds within herself, explaining, “It’s something you have to work on and be aware of every day.” Musically, the tracks are each diverse in structure, subject and mood, using advanced tools to create enticing songs. Supposedly me” are metaphors for the societal views imposed on Americans, including herself, and her realization of this. Lines such as “We don’t see through our eyes, we see through a lens” and “She’s a wild one, she’s a wild one in a land that’s supposedly free. Lyrically, themes of personal and societal barriers that need to be broken are common throughout the album. Together they wrote “Apocalipstick,” the eleven track album that exceeds “Haxel Princess” in creativity and technicality, launching them into a new level of music.Ĭreevy expressed her disappointment with many of the bands she found in DIY clubs and around L.A., stating, “I saw so many singer-songwriters who would just play a G and an E chord on an acoustic guitar and sing about the ocean.” Creevy makes sure this is not what she is doing-the evidence is in the music. In 2016, keyboardist and synth player Sasami Ashworth and drummer Tabor Allen joined the band, bringing along with them more musical knowledge and excitement than the prior set-up. The band has taken many forms since 2012 and changed sounds considerably between their two albums. Together they released the album “Haxel Princess,” a compilation of old songs from Creevy’s bedroom as well as new creations. ![]() ![]() She formed Cherry Glazerr in 2014 with her two friends, Hannah Uribe, a drummer from her high school, and Sean Redman, a bass player who played with her during her Clembutt period. Questioning and challenging the status quo was always a large component of the band. Her first conception of the band was to have a male lead singer as a pawn with no creative input, backed by all female musicians to break the traditional make up of a rock band. Her song “Teenage Girl” (with everybody’s favorite line: “Rob Kardashian is a tool”) was found by Burger Records, an independent music label who promptly urged her to record a tape. Creevy started making music in 2012 when she was fourteen, uploading her songs onto Soundcloud under the name Clembutt.
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