Last updated: 8 hours ago
Cotton Crown is a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock to Husker Du aggression to melancholy Smiths-like pop gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen ‘O’ Williams’ vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing with palpable sense of risk in his self assessments/confessions.
The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass) - who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best - and you’ve got yourself a recipe for indie rock greatness.
The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass) - who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best - and you’ve got yourself a recipe for indie rock greatness.
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