Apocalipstick

The soft/loud dynamic is played with precision and the twists and turns on each of the well-crafted tracks is a thoroughfare of sonic pleasures. Soaring guitar chords and searing leads are tempered with smooth interludes and danceable beats while clever lyrics are served up with Creevy's enchanting, controlled screaming.

The title and cover of Apocalipstick sum it up perfectly: encompassing everything from the smallest quibbles of youthful existence to the largest problems facing the world today – all delivered in a slightly cartoony, extremely bombastic and hugely enjoyable package.

Occasionally they lapse into bland, cookie-cutter noise-pop or vapid lyrical refrains. This isn’t to detract from the record’s allure, the majority of which is enjoyably ragged fun.

On their sophomore album, the Los Angeles rock trio fronted by Clementine Creevy have offered their fiercest recordings yet, full of shredding jams, furious howls, and self-aware swagger.

With a title and album cover that could be mistaken for a feminist sci-fi flick that’s destined to be a cult-classic, Cherry Glazerr’s second effort ‘Apocalipstick’ offers a healthy dosage of slacker-pop that will find itself welcomed with open arms by those with an ear for the likes of Hinds, Diet Cig and Girlpool.

2017's Apocalipstick has a powerful wallop earlier albums lacked, with the bass and drums punching through the mix, Creevy's guitar slashing and crashing, and her vocals showing some growth.

A rejigged lineup and White Stripes producer Joe Chiccarelli have made for a far more robust sound, which channels old school DIY post-punk (Kleenex, the Slits), and vintage riot grrrl via Pixies-style bittersweetness and big angular riffs.

Cherry Glazerr mix their views on equality with a brazen humour and youthful charm that will make it both entertaining in an relatable manner and empowering. As the appropriate album title of Apocalipstick suggests, they are a feminist-minded trio veraciously ready to explode at any moment.