When UK indie-rock trio the Cribs were bestowed with the prestigious outstanding contribution to music award at the NME Awards recently, bass player and vocalist Ryan Jarman was both thrilled and very, very wary.
"It feels funny to get those sort of awards because I've always been a big Queen fan and I always remember that they got given that award just before Freddie Mercury died," Jarman says.
"They got the Brit Award for outstanding contribution to music. It's such a prestigious award but you kind of feel like it's the kind of thing you get at the end of your career, where we absolutely don't feel like we're at that point at all."
Looking at the Cribs' output over the past few years, Jarman is justified in stressing the band's ongoing contemporary relevance. Not only has the band remained active, releasing five albums plus this year's best-of compilation Payola, it has remained functional in the space between underground credibility and mainstream success.
This ability has afforded the band access to the big mainstream market but they've remained in possession of their DIY punk ethics, making them an anomaly and a national favourite in their homeland.
While their peers have fallen away with the genre trends that spawned them, the Cribs have remained insulated from the whims of the mainstream market they flirt with so successfully; and their reputation reflects their deft navigational skills."I'm kind of proud of the way that we're perceived," Jarman says. "I think the main thing is that, to us, the band actually means something or represents some kind of way of life or some kind of ethics which never really died with any trend."