It’s been four years since The Cribs’ last studio record, and in that time the Wakefield trio have taken a rare step back... not just from the industry, but from each other.
With Selling A Vibe, the band emerge re-energised and refocused, reconnecting with the roots that started it all: three brothers in a room, finding their way back to one another. Speaking to us, drummer Ross Jarman reflects on the band’s reset, their first time working with producer Patrick Wimberly, and why this album marks a surprising (and long-overdue) pop moment in The Cribs’ story. If you would like to meet them check out our event here!
“It reflects the three of us reconnecting as brothers.”
It’s been a while since your last release. What does Selling A Vibe reflect about where The Cribs are today?
It reflects the three of us reconnecting as brothers, and trying to rediscover the ‘Jarman Brothers’ rather than just being The Cribs. We’ve spent more time being in a band together now than simply being brothers, and this record helped us reconnect.
On Selling A Vibe, The Cribs teamed up for the first time with Patrick Wimberly (known for his work with Beyoncé, MGMT, and Chairlift), a significant shift from the band’s long-term preference for raw, analogue-driven producers.
What did working with Patrick Wimberly bring to the process, and how did it differ from your experiences with past producers?
Patrick’s influence on this record brought a more modern approach to the band than we’re used to. When working with previous producers like Dave Fridmann or Steve Albini, we always recorded songs live together and straight to tape, avoiding going down a rabbit hole with digital editing. With Patrick, we recorded digitally and were more open to things being changed up afterwards. What excited us about working with him was this unknown element... we didn’t know how the record would turn out, but we trusted his process, and we’re glad it turned out the way it did.
How did taking time away from recording shape the kind of record you wanted to make next? You’ve mentioned focusing on being brothers first and bandmates second. How did that shift show up in the creative process?
I think it’s really important for bands to take time away from recording and live a little before writing again. You never want to make a ‘part 2’ kind of album, and I think that can happen if you jump back in too quickly. Also, you should never write an album because you have to... it should only be because you want to. If it becomes work, then it’s just not going to be good. Focusing on being brothers first and bandmates second meant spending more time together outside of band obligations, and not just being in each other’s company for the band’s sake.
How did you approach balancing raw energy with melody on this record?
We made a conscious effort to identify the hook in each song (whether that was the bass, guitar, or beat) and give that hook space rather than burying it under all the other instruments. Drum-wise, my intention was always to stay out of the way of the vocals, guitars, and bass with a dry sound, and not fill up the space with big, washy rock cymbals.
Were there any moments in the studio that took the songs somewhere unexpected?
There’s one song on the record called ‘You’ll Tell Me Anything,’ which was demoed by Gordon Raphael really early in the writing process. At the time, we didn’t expect any of the demo versions to make the album, but Gordon nailed this one, so we didn’t feel the need to re-record it.
Looking back across two decades of stylistic shifts, Selling A Vibe lands somewhere distinct in the Cribs catalogue. How do you see Selling A Vibe fitting into the wider arc of your career?
If you look back at our discography, there are definitely times when the records felt like more of a punk-rock phase, or a lo-fi phase, etc. With this record, I can see it being our ‘pop phase.’ It’s always been in there somewhere, but we’ve always had too much punk-rock guilt!
After making such a personal album, where do you see The Cribs heading next?
At this point, it’s hard to tell. You never know when writing an album if it’s going to be your last... when you put so much into a record, it’s hard to think too far ahead. We’re excited to get out and tour this one, though, and we’re also happy to be returning to Leeds Millennium Square next summer for a headline show. We last played there 10 years ago, and we remember it as one of the best Cribs shows of all time. No pressure then…
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“It reflects the three of us reconnecting as brothers.”
It’s been a while since your last release. What does Selling A Vibe reflect about where The Cribs are today?
It reflects the three of us reconnecting as brothers, and trying to rediscover the ‘Jarman Brothers’ rather than just being The Cribs. We’ve spent more time being in a band together now than simply being brothers, and this record helped us reconnect.
On Selling A Vibe, The Cribs teamed up for the first time with Patrick Wimberly (known for his work with Beyoncé, MGMT, and Chairlift), a significant shift from the band’s long-term preference for raw, analogue-driven producers.
What did working with Patrick Wimberly bring to the process, and how did it differ from your experiences with past producers?
Patrick’s influence on this record brought a more modern approach to the band than we’re used to. When working with previous producers like Dave Fridmann or Steve Albini, we always recorded songs live together and straight to tape, avoiding going down a rabbit hole with digital editing. With Patrick, we recorded digitally and were more open to things being changed up afterwards. What excited us about working with him was this unknown element... we didn’t know how the record would turn out, but we trusted his process, and we’re glad it turned out the way it did.
How did taking time away from recording shape the kind of record you wanted to make next? You’ve mentioned focusing on being brothers first and bandmates second. How did that shift show up in the creative process?
I think it’s really important for bands to take time away from recording and live a little before writing again. You never want to make a ‘part 2’ kind of album, and I think that can happen if you jump back in too quickly. Also, you should never write an album because you have to... it should only be because you want to. If it becomes work, then it’s just not going to be good. Focusing on being brothers first and bandmates second meant spending more time together outside of band obligations, and not just being in each other’s company for the band’s sake.
How did you approach balancing raw energy with melody on this record?
We made a conscious effort to identify the hook in each song (whether that was the bass, guitar, or beat) and give that hook space rather than burying it under all the other instruments. Drum-wise, my intention was always to stay out of the way of the vocals, guitars, and bass with a dry sound, and not fill up the space with big, washy rock cymbals.
Were there any moments in the studio that took the songs somewhere unexpected?
There’s one song on the record called ‘You’ll Tell Me Anything,’ which was demoed by Gordon Raphael really early in the writing process. At the time, we didn’t expect any of the demo versions to make the album, but Gordon nailed this one, so we didn’t feel the need to re-record it.
Looking back across two decades of stylistic shifts, Selling A Vibe lands somewhere distinct in the Cribs catalogue. How do you see Selling A Vibe fitting into the wider arc of your career?
If you look back at our discography, there are definitely times when the records felt like more of a punk-rock phase, or a lo-fi phase, etc. With this record, I can see it being our ‘pop phase.’ It’s always been in there somewhere, but we’ve always had too much punk-rock guilt!
After making such a personal album, where do you see The Cribs heading next?
At this point, it’s hard to tell. You never know when writing an album if it’s going to be your last... when you put so much into a record, it’s hard to think too far ahead. We’re excited to get out and tour this one, though, and we’re also happy to be returning to Leeds Millennium Square next summer for a headline show. We last played there 10 years ago, and we remember it as one of the best Cribs shows of all time. No pressure then…
Shop Selling a Vibe Below!
SHOP NOW
