Nasty Cherry bassist Georgia Somary rebrands today as Poodle, her solo moniker, with a new album, Interiors. Where Nasty Cherry was "given the world," as Somary says, from Charli XCX's mentorship to their splashy Netflix series I'm With the Band, Poodle is her first time producing an entire project herself with "very limited resources."
The result is an outsider piece of laptop-pop, layered with personal confessions and experiences (depression, manic energy, deer sightings) across seven tracks. You can hear Somary's naive experimentation, playing around and trying things out, whether it be sampling her own laugh or distorting vocals. It sounds ambitious and intimate, at once.
"I’m starting to realize a lot of this record is about what you choose to share with others or let go of," Somary says of Interiors, whichrolls out like one complex emotional release. "And what you choose to keep locked in your head and chest, and the push and pull of those things."
Stream Poodle's Interiors album, below, and read a track-by-track explanation of her official breakout.
I went through a very bad depression at the end of 2019, and luckily found the help I needed with therapy and medication. This song is about reconnecting with myself and floating above the dark clouds that formerly plagued me. It’s a reminder to breathe. I love the distorted pitched vocals that say softly, "I could treat you so nice." It feels like a really warm way to start the record and a reminder to be kind to myself.
This song has manic energy: Lying on your bed, feeling good, masturbating while you mindlessly scroll through apps, you get a text from that one person who you probably should ignore, but you get a buzz from the attention and feel yourself pulled back into old feelings. It’s not good or bad, it just is. I don’t know where this song came from because until I wrote it, I was making much more lo-fi sad things.
This is a love poem I wrote for a specific person who made me feel very stunning. The deer were a real part of this. I was pulled over in my car by the cemetery in early morning fog and rain, and watched them for a bit before I wrote the lyrics out. Cinematic.
"Screaming (moody edit)"
Well, we’re all just trying to hold ourselves together. It’s only a moody edit because I dropped the key of most of the instrumentation, and in doing so the whole song got so muddy and fuzzy, and it made me very moody. I’m starting to realize a lot of this record is about what you choose to share with others or let go of, and what you choose to keep locked in your head and chest, and the push and pull of those things.
A song about realizing you’ve quietly fallen out of love, and are just thinking, What happened there? I used to feel so tied to you and anchored by this relationship, and now I feel like we’ve moved past each other. It’s not even a sad feeling, more just an acceptance. It’s got my favorite vocals and vocal melodies on the record, for sure. Maybe you should listen to this one first?
Highly strung, but everyone knows it and loves you anyway, even when you try to pretend to be chill. The pace changes kind of cover a slow exposing of nervous energy. It’s honest.
"Float (on jasmine)"
This was a lot of fun to make. I really adore sitar sounds, and spent a long time pitching and distorting things I wrote using a sitar plug in to get the sound I wanted. It wasn’t always going to be so empty of vocals, but I liked the space and the open expansiveness of the sound. Making this track and listening to it makes me feel so fucking free, I can’t explain it better than that.
Photos courtesy of P. Mastro