Cherry Glazerr have been around for a surprisingly long time. 2014’s debut Haxel Princess was decent in a lo-fi, wearing-its-influences-on-its-sleeves twee kind of way. They followed this up by signing a deal with the ace Secretly Canadian label and the first fruit was 2017’s Apocalipstick, a fiery affair which highlighted the confident swagger behind Clementine Creevy’s immediate garage punk song writing. By the time this album was released she had already appeared on Amazon’s TV show Transparent, playing the part of a musician (not too much of a stretch, to be fair), and it is her voice that you hear on Death Grips’ ‘Giving Bad People Good Ideas’ from their Bottomless Pit album. Quite the CV so far. With the third Cherry Glazerr album, the feeling is that Creevy’s star is about to go supernova.

Stuffed & Ready is bursting at the seams with an overall feeling of separation as Creevy takes a step back and looks at the world around her. Gone are the more brash and abrasive and assertive elements of the band’s earlier output, replaced with a more purposeful sense of reflection in the song writing and production processes. There is a sense of hesitation and a lack of clarity which runs through the lyrical themes of the ten songs that make up this brilliant album, but these are emboldened and strengthened by the moments of raw guttural power as Creevy lets forth the angst within herself. Without the self-reflection and contemplation, reason can never be wholly realised or satisfying.

The previously released tracks ‘Daddi’ and ‘Wasted Nun’ are among the highlights of the album, and those who have heard them will know that they are a joyful blur of urgency and disquiet. The former is a satirical tour de force and is focused on the issues surrounding patriarchy’s role in disseminating “advice” and its expectations of femininity. After a list of semi-rhetorical questions sung in a high-pitched, eerily childlike voice, Creevy ramps up her autonomy and vitriolic intent by demanding the issues be dealt with on her own terms. ‘Wasted Nun’ is a searing anthem centred on the criticism of gender and societal expectation. These are personal songs, and this album moves Creevy’s attention away from the wider political landscape to a more intimate portrayal of individual issues and thoughts. At times, the lyrics are surprisingly introspective for one seemingly so self-assured, yet there is a sense of empowerment which contradicts the themes of vulnerability presented too. It is in this juxtaposition between personal sensitivity and power that the underlying tensions of this album are played out. There is a perfectly fitting feeling of tautness and rigidity to the music on the tracks, which stems from the tight rhythm section who clearly understand the notion that a minimal approach often reaps maximum rewards, and this serves to further heighten the themes of the lyrics.

‘Isolation’ is all icy cool descending guitar lines and reverb-drenched vocals that combine for a nostalgic feel that would make Cherry Glazerr a perfect band to perform at The Roadhouse if David Lynch ever gets around to making a fourth season of Twin Peaks. There are moments on the album which sound familiar yet never derivative. It is on ‘Isolation’ that Carlos de la Garza’s production skills come to the fore as there is a sheen which other Cherry Glazerr releases have not quite managed.

There is beauty in the anger on Stuffed & Ready which is most readily seen on ‘Stupid Fish’, and it is Creevy’s vocal delivery which is most astonishing here. Throughout the song there is a despondency to the grain of her voice, a resigned air of disappointment in herself and the others around her, especially in the line “I see myself in you,” which is the key refrain of the song. The dispiriting nature of the line is addressed at the end of the track when Creevy uses a banshee wail to proclaim how much she hates herself for being so like the ‘you’ in the track. It is this moment of release after the pent-up frustrations of the song that highlights the key concerns of the album as a whole, the vulnerability and power which comes from personal confrontation and reflection.

This is a slick, polished rock album with a clear lineage from bands such as L7, Sleater-Kinney and Celebrity Skin-era Hole to more contemporary acts such as Du Blonde, Dream Wife and Pip Blom. The songs on this album are a positive move away from the more rough and ready approach of previous Cherry Glazerr albums, and this progression is a result of the confidence that comes with increased maturity and challenging oneself to move in different directions at a time when it would be all too easy to go over the same ground and be content with your lot in life. Stuffed & Ready is a celebration of growing up and the pains of being angry at heart.