Billy Corgan Support Reviews

Ooohh yes, as thousands of blogs around the world are updated on the antics of the Billy Corgan tour, here’s some of the select few that review the Crimea (at least, the ones where the Corgan fans don’t slag off everyone and their unlce… and Corgan’s own band…). Again, hit more to read em.
Chart Attack review the Carlu show. Result? Way. And where are them fucking hors d’oeuvres? Actually… what are they?
Illinois Entertainer check out the Vic Theatre and were far from filled with joy. Must be missing them hors d’oeuvres (is that even spelt right?) too. Result? Nay.
Chicago’s Sun-Times were at the same show. Result? Nay. But you know, all these Coldplay comparisons can’t be bad, even if they are the mortal enemy.
The New York Press include the word “crap” in their comments on The Crimea, but it’s all good. Result? Way. Leaving us with the current review’s overall results sounding something like a horse. There must be something good about that.
And for all our blind visitors who can’t read the reviews, here’s some pretty pictures from the tour to keep you occupied…… er…… damnit. But all you new amputees are gonna love em. Eh, I’m just pissed it weren’t me.
Back to the blogs, some Corgany fan blog type place is trying to avoid RSI in their wrists in an all new way.
This guy though, really needs to take his happy pills. At least they’re a history lesson if nowt else. And he’s gone be sooo mad when he finds out they didnt chose the line-up :o P.

LIVE: Billy Corgan Doesn’t Play With Pumpkins

The Carlu
July 2, 2005
Toronto, ON

The sight of so many goths, punks and assorted alternative types milling around The Carlu was an odd one to be sure ? it’s a safe bet that few in the audience had ever been to such a posh venue and the venue had likely never seen such a crowd. “Where are the fucking hors d’oeuvres?” I overheard one particularly sarcastic girl mutter to her friends. Despite the odd venue choice, Billy Corgan and his openers still rocked out.

Starting things off, The Crimea played anxious, jittery rock music with a dark and melodramatic edge. The singer had a vulnerable croak reminiscent of a more rocking Danny Michel. The band acquitted themselves well and even though the audience obviously wasn’t there for them, they received applause a few shades stronger than polite. Near the end of their set, their music mellowed considerably, going for more of a folky troubadour vibe.

Review by Aaron Brophy for Chart Attack.


Billy Corgan

Vic Theatre, Chicago
Tuesday, July 5, 2005

The Crimea, who opened, were a little too anxious to be there. The Irish quintet made their Chicago debut an uncomfortable one with a surprising amount of sincerity, and proceeded to rush through a number of their relaxed tunes and sounding a little too much like Coldplay or Travis on the slower ones. “Lottery Winners On Acid” was a brief highlight and a relative triumph considering the size of the audience and the knowledge that they were only impeding Corgan’s imminent arrival.

Review by Steve Forstneger for Illinois Entertainer.

Corgan in a can
July 7, 2005

Opening for Corgan was Doris Hansen, a quintet from Kansas City that is yet another in the long line of New Wave revivalists — its twist is that it has a trombone player — and the Crimea, an ambitious but schizophrenic English quintet derailed by the fact that it couldn’t decide which of its heroes it most wanted to emulate: Joy Division, Radiohead, Tool or Coldplay.

Review by Jim Derogatis for Chicago Sun-Times.

Billy Corgan/The Crimea
June 27, 9

Corgan?s finally become that innovative singer/songwriter whose talents were occasionally hinted at whenever his earlier work aspired toward epic pop. Zwan would?ve still made for a nice prog revival. In that same sprit, the Crimea?s upcoming debut will sound familiar to both Corgan and his audience, as the band crams in plenty of nice haunting arrangements to redeem the usual whisper/scream crap/drama.

Preview by J.R. Taylor for the New York Press.

Monday, June 27, 2005
The Best Night Ever, In Great Detail.

Since no one cares, I am going to tell all 2 of you who read my blog all about the Billy Corgan show last night.

The first opening band, Crimea, starts up. It starts with a big jolt (for lack of a much better word) of guitar, and the vocalist just starts muttering in beats. Like some sort of weird poetry. Eventually it turns to actual music. They play about five songs, and I am proud to say that I did not applaud for a single one (NOT only because of my Billy snobberyness, but because they just sucked. I did applaud for the second opening band, however). Nan and Ellie really liked Crimea, but I thought they were terrible. I think it’s only because they thought that the British lead singer was hot. He wasn’t.

Review by Mamanese.


27 June 2005: Webster Hall ? New York

What to say about middle act the Crimea? Well, ummm? the peninsula from which they take their name was, in the mid-nineteenth century, home to the Crimean War, a conflict between English, French, and Turkish troops. These countries united to eventually win out over the Russians.

I mention these delightful factoids only because the underscored history lesson of the namesake is infinitely more interesting than the band. Hailing from the UK — not Crimea I’m sad to report – the band emerged promisingly to haunting vocal loops only to deliver boring, cocky tunes fed through an array of strikingly pretentious rock star poses. If ever there was a band where the image matched the music this is the one – both would fall under the category of “overwrought”. Unlike Doris Henson, these guys don’t realize that they got lucky – they think they deserve to tour the legend circuit. They don’t, end of story.

Well, not quite… According to the country did not change hands but rather “became an autonomous Russian republic in 1921 and a Ukrainian oblast in 1954.” For those of you who were wondering an oblast is “an administrative territorial division within Russia and other former Soviet republics, including Ukraine and Kyrgyzstan.”

Why’s that important? Because even if what’s happening now is far less interesting then something that happened before, and even if a contemporary image is painful to swallow, we can at least use it to wistfully reminisce.

Review by Andrew Phillips for Pop Matters.

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