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The Cribs - Ignore The Ignorant
| Drownedinsound |
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My first exposure to The Cribs was during a Reading 2006 highlights package. Until then I’d lazily filed them with indiebollocks atrocities like The Paddingtons and The Others, and the sight of Ryan Jarman vacantly slurring nonsense in an interview, dressed preposterously in a too-tight ripped polo shirt didn’t challenge my presumptions. "Pricks," I thought. Then they went onstage and snarled through ‘Hey Scenesters!’ with a ferocity that seemed completely at odds with their ‘indieness’, their clothes choices, their carefully-cut hair. My silly prejudices were obliterated. A few things set them apart. What I’d misread for extreme affectation in the none-more-Yorkshire way the Jarmans addressed the camera turned out to be the opposite; it’s hard to imagine a more honest, straightforward band. It doesn’t hurt that they’re three distinctive looking brothers, a gang, a unit. More important is the fire and tenacity they bring to their music, elevating their songs from mere melodic indie to something to rally behind and care about....full text |
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| Nme |
| Say what you like about The Cribs (they look like their mum cut their hair, that bleeding-all-the-time thing was a bit gross, the phrase ‘ethical indie’ was the most ideologically flawed utterance of 2007), but you have to admit they’ve demonstrated an intriguing approach in choosing the people who produce their records. Duties for 2004’s eponymous debut were handed to Chicago’s avant-garde protest singer Bobby Conn, the following year’s ‘The New Fellas’ was realised perfectly by Orange Juice man Edwyn Collins, while two years ago Franz Ferdinand’s Alex Kapranos lent ‘Men’s Needs, Women’s Needs, Whatever’ the pop sheen that assisted the band’s long-anticipated savaging of the mainstream. Eclectic selections for sure, but you can’t help but admire the band for not just picking Paul Epworth, a man who’s certainly helped make some great records but who must think, “God, not another shitty guitar band who want me to save their career” every time his studio reception phone rings....full text |
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| Musicomh |
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Let it never be said that The Cribs don't know the power of a good collaborator. After employing the not inconsiderable talents of Edwyn Collins and Alex Kapranos respectively to produce their last two albums, this time they've gone and installed a brand new member - Johnny Marr. Yes, that Johnny Marr - formerly of The Smiths, fully paid up legend and certified guitar genius. It's a mouthwatering prospect: the Jarman brothers were good before, so just how good would they be with Morrissey's erstwhile songwriting partner in tow? The answer is clear from the opening notes of their fourth album: very good indeed. The recruitment of Marr is no stunt casting, for he's co-written every track here. His influence is clear, but he's not hijacked The Cribs sound - rather, he's enhanced and added to it, while adding some unmistakeable touches of his own....full text |
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