The Cribs has toured with the Strokes, collaborated with legendary rock musicians and appeared at international music festivals all across the world, generating an exceptional list of accomplishments. Its latest album may just prove that it is one of the most underrated British bands out there that still understands how to create solid rock “˜n’ roll music.

The Cribs is an English indie-rock band originally from Wakefield, West Yorkshire.

“In the Belly of the Brazen Bull,” the band’s fifth LP, is its first studio album to be released since Johnny Marr left the band. Marr’s legacy dates back to the Smiths, a band he formed in 1982, that, to say the least, caught the attention of the rock “˜n’ roll world.

Now assuming the lineup of its three original members, brothers Gary, Ryan and Ross Jarman, the band took three years to release this album.

“In the Belly of the Brazen Bull” falls into an interesting type of subgenre ““ pop-influenced rock songs with addicting hooks and mesmerizing guitar parts that feel nostalgic and fun, while still being able to evoke feelings of heartache and tenderness.

The album kicks off with “Glitters Like Gold” and “Come On, Be a No-One,” two tracks with a classic Cribs sound ““ domineering electric guitar and melodies that have the listener singing along almost immediately.

Within the first few minutes of the record, one thing becomes strikingly obvious ““ the Cribs still know how to write a catchy rock song that takes literally 30 seconds to fall in love with. For most listeners, these first tracks may be the instant favorites.

The album might seem to drop off after the first few songs, but then something special happens. Another series of attention-grabbing songs appears in the second half of the record, and while stylistically they are much softer than the first wave of tracks, they are delightful in a different way.

One of these album redeemers is “Like a Gift Giver,” an upbeat anthem that proves to be a reliable pick-me-up upon every listen. The ending of this song smoothly flows into the next track “Butterflies,” which sounds like a very Smiths-esque ’80s romantic ballad.

This track contains one of the most enticing, catchy and magical choruses on the album. The melody and clean electric guitar riffs also make it a clear standout.

“I Should Have Helped” is a quiet acoustic tune that almost resembles a lullaby because of the soft fingerpicking and backing vocals of “ooh’s” and “ahh’s.” Maybe it is in the whispery vocals or the chilling falsetto, but at first listen, this song almost sounds like it could have been some unreleased basement demo of an old John Lennon song. Yes, it is that good.

“In the Belly of the Brazen Bull” clearly demonstrates that the Cribs have mastered the art of the pop-rock song. But for once, this does not hurt the music ““ the tunes are as catchy as they are deep, and as fun as they are impacting. The emotional content behind the songs is very present.

With Marr leaving the band, it was obvious that this album needed to be done the right way, and the restraint and deliberate patience that the Cribs exhibited in waiting to release the album until it was ready is impressive.

Email Curcio at ncurcio@media.ucla.edu.

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