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Met dank aan de originele posters indien het niet door mij geript is...
Thanks to the original posters if not ripped by myself...

01 - The Tubs - Cotton Crown - The Thing Is.flac 
02 - The Tubs - Cotton Crown - Freak Mode.flac 
03 - The Tubs - Cotton Crown - Illusion.flac 
04 - The Tubs - Cotton Crown - Narcissist.flac 
05 - The Tubs - Cotton Crown - Chain Reaction.flac 
06 - The Tubs - Cotton Crown - Embarrassing.flac 
07 - The Tubs - Cotton Crown - One More Day.flac 
08 - The Tubs - Cotton Crown - Fair Enough.flac 
09 - The Tubs - Cotton Crown - Strange.flac 
991 - auCDtect.log 
991 - Lossless Audio Checker.log 
992 - AccurateRipNot.log 
999 - cover.jpg 
The Tubs - Chain Reaction.txt 
The Tubs - Embarrassing.txt 
The Tubs - Fair Enough.txt 
The Tubs - Freak Mode.txt 
The Tubs - Illusion.txt 
The Tubs - Narcissist.txt 
The Tubs - One More Day.txt 
The Tubs - Strange.txt 
The Tubs - The Thing Is.txt 
Oor Review ---------------------
Indie The Tubs Cotton Crown TROUBLE IN MIND/KONKURRENT

In de bio bij dit tweede album van The Tubs – Welshmen te Londen – lees ik over muzikante en schrijfster Charlotte Greig, de moeder van zanger/gitarist Owen Williams, die in 2014 zelfmoord pleegde.
Ik zoek haar muziek op en vind een prachtige folkversie van Sonic Youths Cotton Crown.
Daarmee zijn de albumtitel en de hoes (baby Owen aan de borst bij zijn moeder) verklaard.

In het afsluitende Strange – een ontwapenende jangly gitaarpopsong – zingt hij over de periode na haar overlijden.
De rest van de plaat heeft tekstueel een heel andere insteek: in de meeste songs lijkt Williams geobsedeerd door een ex, wat resulteert in zelfhaat en drugsgebruik.
Het Tubs-debuut Dead Meat uit 2023 was een heerlijke, sterk aan eighties-indie en postpunk refererende gitaarplaat met stuk voor stuk pakkende songs.
Cotton Crown klinkt wat rafeliger, rinkelt nog meer en is vooral feller.
Wat gitaarwerk en catchy hooks betreft zijn The Smiths nu referentie nummer 1 (Narcissist, Embarrassing), met het Hüsker Dü van Flip Your Wig als goede tweede in 
melodieuze punkbeukertjes als Chain Reaction en One More Day.
Daarin voel je de urgentie bij Williams bijna uit z’n oren spuiten, en dat met een nog steeds zachtaardig, Lou Barlow-achtig stemgeluid.
Zijn moeder is dood en zijn geliefde wil hem niet meer, Williams gooit het er allemaal uit op het hartverscheurend mooie Cotton Crown.

Exystence Review ---------------
The Tubs – Cotton Crown (2025) Filed Under: indie-rock by exy — 1 Comment March 6, 2025

With their early singles and 2023 debut LP, Dead Meat, London-based band The Tubs put together a sound unlike many of their contemporaries.
The songs were fast but clean; punk in terms of tempos and lyrical themes of frustration but with sharp, jangly performances instead of fuzzy abandon.
Perhaps what stood out most about the Tubs was the unambiguous influence of U.K. folk-rock.
Vocalist Owen Williams’ steady, metered singing conveys some of the same weightiness and ache of Richard Thompson in his Fairport Convention days, 
serious and slightly melancholy even when shouting over a pub rock instrumental.
The band’s second album, Cotton Crown, doesn’t deviate too much from the unique sound they established on the first record, but it sharpens certain details.
The overall production is a few shades clearer than Dead Meat, and the more intricate guitar parts in particular stand out.
Sprightly pop tunes like “Narcissist” and “The Thing Is” are heavy on crisp, Johnny Marr-esque guitar leads and the supportive jangle of layered acoustic guitars.
On these songs and the jumpy “Freak Mode,” the Tubs land somewhere between the peppy gloom of the Smiths, the impatient pop of Hüsker Dü, and the sad longing that 
bands like the Field Mice or Felt translated into guitar hooks so well.
On several songs, Lan McCardle reprises the guest vocalist role she played on Dead Meat, and her airy voice punctuates the lightning-fast changes in arrangements.
Cotton Crown starts out in high gear and occasionally ramps things up even further.
“Chain Reaction” rips out of the gate and never slows down, with the band’s U.K.
folk jangle momentarily morphing into redlined pub punk reminiscent of Royal Headache.
Closing track “Strange” drives home how much more sophisticated the band has grown, spending the album’s final few moments in sentimental reflection 
with one of its most thoughtful and dynamic instrumental compositions.
The steps forward on Cotton Crown are subtle but undeniable, with the Tubs’ vision growing clearer through these increasingly enjoyable and well-crafted songs.
— AMG