The mid-‘00s was a time period which had a number of certain, stylistically recognisable musical sounds. The Cribs were often lumped in with a number of bands at the time who were referred to as ‘Indie Sleaze’. The sound incorporated raw, garage rock-style vibes with sometimes danceable beats, often giving a nod to disco and electro- pop. It was carefree, loose and hedonistic. The Strokes are a notable example of that sound, and one to which The Cribs have often been compared.
While many of the bands from that era lie vaguely remembered in a large proverbial musical graveyard, The Cribs, for more than 20 years, have managed to rise above that musical hype and retain a fanatical and loyal cult following. There is an honesty and authenticity in their sound that has managed to gradually evolve with the times, while retaining that certain genuine something that listeners latched on to in the beginning. It is this sense of sincerity in their writing, -an element which can’t be taught or learned, you either have it or you don’t- that has kept the band relevant through a career that has had its share of major events, including legal issues with their label and a stint in which the legendary guitarist, Johnny Marr, was a full-fledged member of the group.
The “boys”, brothers Gary, Ryan and Ross Jarman, return in 2026 with Selling A Vibe, their first record in almost half a decade. Now, as men who are well into adulthood, they still possess the raucous, effortlessly catchy hooks that established them in their younger days with tunes like ‘Hey Scenesters’. Still present are the fuzzy, garage-rock-sounding guitars which they have come to be defined by. But this particular record sees the trio mixing in some new aural flavours that can be a bit more chill and airy, and in some cases, even seem to harken back to the ‘80s.
Opening track ‘Dark Luck’ is an energetic and welcome return to form after their years-long absence. The angular guitars and stop-start chorus come off as a familiar friend who you haven’t seen in a while, and you immediately remember exactly what it was about them that you have always loved. ‘If Our Paths Never Crossed’ runs in a similar stop-start fashion that sounds crisp and resolved.
What sets The Cribs apart from many of their long-ago faded contemporaries is the fact that while they are rock and roll stars, they are identifiable to the average “Everyman”. They’ve always seemed to be just another one of us. And like us, they have their moments of awareness and reflection with growing older and waxing nostalgic for what seemed like better times.
‘Looking For The Wrong Guy’ is a sad, affecting lament of faded youth, where the vocal brings forth a flavour of a young Mick Jagger, and is one of the strongest tracks on the record. ‘Summer Seizures’ is a more dreamy-sounding track but focuses on the same type of subject matter with lyrics such as: “it’s not the same/ fashion wears out fast/ just like the times they never last”. The record as a whole reveals a veteran band who aren’t trying to reinvent itself. But rather, they are continuing to use the proven strengths that have worked well for them to reflect upon where they have been.
Perhaps the most “Cribs” sounding track on the record is ‘Never The Same’. The tune would not be out of place on the band’s earliest records when they were first defining their sound. With a small dose of Beatles-style jangle mixed in with prototypical Indie Sleaze, the song shows that the band have evolved and remains relevant to the times, while not forgetting their initial roots.
The title of Selling A Vibe is, itself, a likely inside joke between the band and those in the know. The title belies a band that has always been authentic in what they do, with no ulterior motives or pretension. The record shows them to be a group that has rolled with the times, but retained their own personal niche. The album is a nicely captured sound of a group that has ascended to some of the highest rock ‘n’ roll heights, but has retained control of themselves on the way down to a soft landing.
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