Cherry Glazerr

First Fleet Concerts Presents:

Cherry Glazerr

Winter

Wed, September 13, 2017

Doors: 6:00 pm / Show: 6:30 pm

Vaudeville Mews

Des Moines, IA

$12.00 - $14.00

This event is all ages

Cherry Glazerr
Cherry Glazerr
Society would deem that a prodigious girl can't be in a progressive rock band while also

being in complete control of its creative vision, business plan and social messaging.

Society is wrong. Clem, a 19 year old teen Queen with a headstrong resolve like her

hero Patti Smith and a cartoon laugh like Muttley the dog, dreamed up Cherry Glazerr in

her LA bedroom alone and is perhaps more capable of figuring a music career out than

anyone who attempts this treacherous life path. And yet, she carries herself very lightly.

“This one's going to be a flop!” she jokes, here to discuss the newly lined-up trio's

second album, Apocalipstick. It's every bit as epic, funny, life-assuring, doom-defiant

and flaming fire as that title sounds. What's more, it's the soundtrack to their collective

rockstar evolution.

Today things look a little different from the band’s early days back in 2014 when they

were associated with much-loved Cali imprint Burger Records (who put out their

intoxicating debut Haxel Princess) and Suicide Squeeze (who released the Had Ten

Dollaz 7-inch). Back then, they were born as a different trio, featuring Hannah Uribe and

Sean Redman who have since both moved onto other artistic pursuits.

Now bolstering Clem's vision is the loud-in- every-way- possible drummer Tabor Allen

and the level-headed but bad-ass, multi-instrumentalist Sasami Ashworth who plays

synths and notably French Horn (Clem is still scheming on how to incorporate that into

Cherry Glazerr's sound). The first time the new trio all jammed together minds were

blown. “My world was rocked,” recalls Clem. “I'd never played with someone who was

technically that good before. It made me think, Man I gotta really step my shit up!”



On Apocalipstick the band worked with “rock'n'roll wizard” Joe Chicarelli [White Stripes,

The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara].

Understandably the band felt a sense of vulnerability when laying themselves bare to

Joe, a producer they had so much respect for. Dispelling her own sense of ego was an

added hurdle for Clem, but it allowed for their greatest risk-taking as a band yet and has

paid off exponentially. “I didn't even smoke weed during pre-production because I didn't

wanna disappoint Joe. I didn't wanna get in trouble!” laughs Clem. She adds, “Making a

record is such a spiritual thing. You laugh, you cry, you're miserable and the happiest

you'll ever be.” Tabor chimes in with typically comedy drummer timing, “It was so much

simpler than that for me. Just, 'These drums sound sick.”



The band's newfound self-discipline and motivation has evolved Cherry Glazerr into a

wildly complex, hugely guitar heavy, and unapologetically loud machine. “People may

be shocked by the jump in our sound,” says Sasami, eager to establish that this record

isn't intended to be some fancy statement about reaching their pinnacle. It was simply

an opportunity they couldn't turn down. Clem has since learned how to quit focusing her

attention on the fans or wider critical response. “There was a time when I just couldn't

write songs because of that. You can't do that,” she says. “You can't be emotionally free

if you're pandering to anyone. Serving the music is the one and only thing that matters.”

That's hard when you have people telling you what to do all the time.



“Comedy in music is extremely important to me because humour is all we have as

human beings,” Clem adds. The jests are particularly strong on the disgustingly catchy

track 'Trash People' – it's quite literal in its self-deprecation levels. “That's a fun song

about how I have dirty fucking habits,” says Clem. “It's about being road rats, nasty ass,

dirty fuckers. That's how I like to live.” 'Instagratification' is a tongue-in- cheek musing on

social media narcissism, which the band admit to feeding off. Sasami notes that women

are shamed so much more often for their posts: “Who the fuck cares? If you wanna post

a photo of your pussy go for it! The ultimate white privilege is sweating the small shit,

judging people for things that don't matter.”



When it comes to sweating the major shit, Cherry Glazerr live like they want to see

others live. They don't want to preach certain politics, they'd rather hold court for an

open discourse. The subject of equality among the sexes, however, holds a special,

unavoidable place for Clem, torchbearer for feminism in its raddest forms. That's so key

to her aesthetic that it's the opening sentiment of Apocalipstick via the anthemic,

disaster-laden 'Told You I'd Be With The Guys'. The song documents Clem's realization

that she needed to establish solidarity with other women and stop being a “lone wolf”.

“Sexism is so ingrained in me, I can often feel that men are the only ones who can help

me socially, economically. The most important thing in my life is that I've realized I need

to work for solidarity. That song's both hopeful and dismal!” she laughs. Clem still feels

the constant need to prove herself. “Women work from behind their oppression. In order

to make good art you need to be emotionally free and sadly, not a lot of women are able

to do that. That always puts a fire under my ass.”
Winter
.Winter is a dreamy indie rock band whose sound was conceived in Boston. Beginning as a
collaborative effort between Samira Winter and Nolan Eley, their first recordings culminated into the
2012 EP entitled Daydreaming. Following the release, Samira’s relocation to Los Angeles brought on
the recruit of additional members Matt Hogan (guitar), Justine Brown (bass), and Garren Orr (drums)
to create a band that would manifest her ultimate dreams.
The quartet released their first full-length album, Supreme Blue Dream, via Lolipop Records in 2015.
The aptly titled album floats on with a youthful sense of nostalgia and romanticized segues into
adulthood. Touching on not one, but two languages (English and Portuguese), this bi-lingual group of
dreamers do their part to lay us down softly while keeping listeners eager for each tune. Winter
aspires to connect others with their inner child by making blissful, beautiful and ethereal pop music.
Venue Information:
Vaudeville Mews
212 4th Street
Des Moines, IA, 50309
http://www.vaudevillemews.com/