THE CRIMEA

Oh Goody, More Reviews

Oohhh yes, there I was thinking the review barrage was over. Oh how wrong I was. So sit back and relax while I spend another five hours of my life going through the latest Crimea reviews and a few interviews to hit my inbox…
And starting with one of the interviews, Davey told The Downloader his thoughts on the digital age and his favourite artists; Tom Vek, People In Planes and Midasuno. The site also has a review of Tragedy Rocks up saying it’s “full of catchy tales of urban ennui and swirling hymns to lost loves”.
Next up for the interview/review double are GigWise who find out why asking Davey historical questions is a bad idea and take a very Welsh look at things during their great interview with the band. I dunno how true their statement of Lottery Winners On Acid being the next single is, but good god, how many times can you release one song? They also popped along the the Monarch pub in London and reviewed the show and are quite satisfied with the result.
The final interview for the day comes from Room Thirteen, where Davey mentions that the US only album tracks will be released for nowt in the future. Probably not by Warners, but I wouldn’t say there’s no truth in that, I know I’ve got a load of stuff that will eventually get put up for download, just not while the band are still around to complain. And much like the previous two sites, they also gave the album a once over. Which would be great, if it weren’t for one thing. “Lottery Winners On Acid’ sounds like it was written for a steel band”. FUCK. ME. PEOPLE. Enough. Shut up about the damn steel bands, here’s a fecking steel band, ain’t no pop tunes ever come close to the soca that pan tunes are based on. Oh well, it ain’t all bad, while you’re on the R13 site you can also check out an interview with the afformentioned Midasuno. Really, they ain’t bad at all.
Album reviews now, and Refresh Daily have a small one saying “this really is a great album to make you feel good.”
The CD’s given a longer look over by Music OMH who come up with the conclusion that “it’s tempting to just label them the Bart to the Lisa of Coldplay”. And may I be the first to say, “D’oh”.
A little less interesting is what’s looking more and more like a PR man’s version of a takeaway. Ready to eat, just add your own rating. Not that the Guardian Series even bothered with that; their review has already popped up on UK Online and the Adult Contemporary Essentials site, and this version still has the same rating as the latter.
Also in the “let’s not bother and use someone elses review instead” game, are SubCulture magazine who’s review previously featured on FMagazine and was most likely invented by Warners. Please, if you’re gonna send out reviews to people then at least change them about a bit so they’re not as easy to spot.

5 Question Challenge: The Crimea
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Davey McManus of trad rock greenhorns The Crimea unearths his digital passions…

1. From a breaking artist?s point of view what benefits do you think the download age has bought to the industry?

Well, as a breaking artist it is helpful because?
A. People can download your stuff for free, i.e. test you out,
B. You just ask them to listen to your stuff on Myspace and if they like it they are a fan for life, if not they go back to their shitty life in Hull.
C. We used to be scathing of the net, now however our lives are based around it I get free wireless from a school nearby. We run our own sites and try to keep them changing all the time to keep people interested, our lives are available on the internet.

2. Do you think that The Crimea?s songwriting process has benefited from the digital medium’s rise in profile? Has it – for example – lead to greater interaction with your core fan base?

Well we do like to put demos up really quickly or put new songs behind home videos so people have two reasons to watch, I think we definitely get a shitload of feedback from people and various boffins on the internet about how our songs sound, and usually how they prefer the old version recorded at home on our 16track to the one we just spent $100 000 dollars recording, which is frustrating, and you start to realize maybe you and your core fanbase are at loggerheads and they don?t share your ideas, and then you remember its only your mum who is your core fanbase and she only likes ?Lottery Winners On Acid? cause that?s the only happy song.

3. Are Crimea active downloader?s yourselves? What have you been downloading recently? What download services do you use and why?

Mostly the guys have been downloading country music they hear on tour in The States, and old stuff from John Cale and Buffalo Springfield?s ?Broken Arrow?.

4. Do The Crimea have any tips for 2005? Any hometown acts that our esteemed readership should be hunting out?

Tom Vek, People In Planes, I love Midasuno (they are a welsh band with a passion rarely seen) are ace, but generally I don?t like other bands that much. Obviously if you play for Chelsea you don?t like Man United; you call Man United ponces and say they can?t play very well. Basically its jealousy and hatred.
We haven?t been in the UK all year so it was depressing to arrive back and see that every band is going for the mockney accent choppy guitar thing. I like the classic songwriter thing like dusty Springfield or Leonard Cohen and there are not many new people in that vein right now. Except Regina Spector and possibly Willy Mason.

5. What are The Crimea?s personal hopes for 2005?

We just put so much effort in over the last few years we need to make sure we don?t have to go back to the fucking day jobs, please god no. So just to stay clever, and continue our indeterminable rise, unchallenged and unabashed.

Interview from The Downloader.

The Crimea - Tragedy RocksThe Crimea – Tragedy Rocks
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Full of catchy tales of urban ennui and swirling hymns to lost loves and bad times, The Crimea?s debut album resounds with vaudeville panache and dirty-fingernailed brio.

A look at the titles gives you a clue as to the lyrical territory: ?Miserabilist Tango?, ?Someone?s Crying?, ?Girl Just Died?, and — best of all — ?Gazillions of Miniature Violins?. Dave McManus? songs are sardonic paeans to death, cynicism and awful dates, his voice quavering wistfully over immaculate, twinkling piano and mournfully wailing electric guitar. The band seem to be hanging back, content with music box chimes and claustrophobic vibes, only to surprise with an occasional playful acoustic arpeggio snaking its way to the front of the mix.

It?s a measured, clever record, full of bitchy one-liners and restrained jangle imbued with a playful air that occasionally make them sound like The Rembrandts with a crippling drug addiction and an English Literature degree. But on ?Opposite Ends? The Crimea conjure something as dramatic as their frontman?s ambition, raising up a towering cathedral of shadow-haunted sounds and ghost-choked backing vocals while their frontman babbles and gibbers like a man possessed. Tragedy rocks, indeed.

For details on the download availability of ‘Tragedy Rocks’ click here.

Review by Nelson Stanley for The Downloader.

At The Scene Of The Crimea

There’s a lesson for Gigwise to learn from this interview. When asking a band about comparisons drawn between them and nineteenth century literary figures, its important to either a) ensure that the band in question know who the author their frontman is compared to is, or b) firstly explain who said writer is and why likenesses may be made. Taking these steps may prevent mass confusion.

For when we ask lead fella of The Crimea Davey MacManus about his supposed status as the Lewis Carroll of his generation, we get some nervous giggles before he admits he has heard the analogy but has no idea who Lewis Carroll is. There’s nothing like showing an interviewee up to get them to reveal all. We explain that he’s the hallowed author of Alice in Wonderland, the creator of the rich acid and opium fuelled visions of mad rabbits and shrinking potions. ?Ah right, well I haven?t seen it, y?know the film, but acid isn?t for me, it?s a horrible drug and it?s really ugly, it makes you feel awful afterwards. It was always mushrooms in Wales anyway?. We definitely lost him way back. But at least we know he doesn?t endorse the use of acid, for creative purposes or otherwise.

?I don?t really wanna be anything of this generation. If I had to be compared to anyone, it would ideally be Leonard Cohen? says the soft-accented Irishman.

Tragedy RocksLiterary confusion aside, The Crimea have returned from a dissolved record contract with V2 in their previous incarnation as Welsh band The Crocketts. They have just released their debut album ?Tragedy Rocks?. This is their first release as The Crimea with Warner who picked them up after they were reluctantly dropped by V2 following an impressive 30 releases in under 3 years. Charming eh? But Davey, along with guitarist Andy Norton, keyboard player Andrew Stafford, bassist Joseph Udwin and drummer David Hopkin, isn?t bitter. ?They paid our wages for seven years but who likes their old employers, who likes their boss? It?s your job to moan about them. Seriously, they were the nicest people on earth and it broke their hearts to drop us but they did?.

After re-composing their line-up, getting a new deal and spending half a decade recording their album, The Crimea are now ready to unleash their tracks onto an unsuspecting British public. Are they excited? ?Fucking hell, yes! It?s not a day to soon!? enthuses Davey. But it?s not been an easy task. In the words of Andy Norton, ?It?s taken a lot of hard work, blood, sweat and tee-yas (he?s a welsh boy, you see). ?Tragedy Rocks? has been five years in the making, being produced by themselves and Modest Mouse producer Dennis Herring in locations as exotic as New York City, Mississippi, Camden and erm, Plaistow.

Davey MacManusFontman Davey explains why they took 5 whole years producing ?We spent ages on every song, recording things like 10 times, recording every different version until it sounded just amazing. We just tried to write something clever and not a load of claptrap and did everything again and again and again. We didn?t have a magic formula or a mathematical equation or anything?.

It is described by their website as ?lush and lacerating?, comprising of Davey?s trademark ethereal and damn well Carroll-like vocals as well as a big yet delicate sound. MacManus chooses to contradict his own PR?s placing of the word ?lush? however. ?I wouldn?t exactly say it?s lush but it?s definitely more realist. I would love it if it was lush. It?s quite an old sexual term? ? saucy! He further clarifies by saying ?it doesn?t sound like Lush (90?s shoe gazers), the band or anything?. The great thing is we are putting this out as an album, as a record first so we don?t even need to release a single. I think it?s a good way of doing it cos people will listen to the album and then we can worry about all the crap of getting in the charts at a later date.?

The Crimea have spent the last 12 months on the road as well as recording, recently putting in support slots for Ash and The Bravery in the US. ?We have been really lucky with US audiences. We toured with Ash and The Bravery so it?s mostly been people who are really into their music. American shows can be really hit and miss, you can have some really good shows over there but we played some small towns on the outskirts of New York State and Kentucky and we would get the weirdest people turning up? says Andy. Sticks man Owen has a fonder, retrospective view of touring the states. ?It?s just like having a holiday in France when you are a kid, everything is just completely different, the people are different, and its just nice to have the chance to spend so much time over there cos it is a whole different ball-game?.

Owen, in his broad welsh enunciation, continues on how he feels of their profile in the UK. ?We have spent the last 12 months over in America so things are only really starting in the UK now so the album release is almost like the beginning. So we haven?t got particularly high expectations. We hope that things really pick up and it becomes enormously special for us?.

Having just played a John Peel Day gig, the band are keen to pay respects to the great man. Peel played their entire demo on his show and commissioned them to do a sacred Peel Session in 2003. He proclaimed one of the demo tracks ?Lottery Winners On Acid? (which is to be their forthcoming single) as one of his favorite tracks of the last five years.

?He played every single song off the demo which was just stuff that we had recorded at home, before we even had a record deal. It helped us a lot in America cos people really respect him over there. It was only natural we were gonna play at a gig for him? says a respectful and occasionally flirtatious Davey. When he and Owen find out that they are being interviewed from Lincolnshire, they enquire as to exactly where. They recorded a few sessions at a recording studio nearby ?you know, at that village where that kid bought a gun into school and shot a mate last year? says Owen (he means a knife, and this kind of activity is not indicative of this writers county).

The Crimea were due to play their Peel gig with Ash?s First lady Charlotte Hatherley, but she has just pulled out even though she made guest appearance in the audience of their gig the previous night. ?She pulled out so we have been phoning up our rock star mates but we haven?t managed to get anyone good yet?. Best leave them to find someone worthy then!

Interview by Katrina Pierce for GigWise.

Wednesday 12/10/05 The Crimea @ Barfly, London

The first thing to say about The Crimea is that they are a much stronger and more interesting proposition than you would imagine were you to have only paid them passing attention before now. The skewed classic ?Lottery Winners On Acid? may have won your heart in 2002 and ?Baby Boom? was high in John Peel?s Festive Fifty a couple of years back now, but that does little to prepare you for seeing them live.

The backing track of opening song ?Opposite Ends? starts up and one by one the band join in until the sound becomes a whirling storm of guitars, solemn harmonies and undulating notes with lead singer and main man Davey Macmanus testifying to the pain of love right up here before us. On a Tuesday evening in Chalk Farm. Literally spreading his arms with the force of his soul bearing, as if to say that if we want it, we?re gonna get it all, and even if we don?t, it?s coming anyway.

There’s nothing ground breaking about the Crimea, they don?t forge new paths in sonic experimentation, they simply take the basic essence of life and use songwriting and passion to pass that message on to us. If it didn?t sound so crap we would say something about this being art at its purest. But that might make all this sound a bit high, so probably best to stick to the songs; songs that have been crafted and worked upon over time until becoming little “pocket symphonies”, according to drummer and founder member Owen Hopkins, referring to Brian Wilson?s term to describe the best of the Beach Boys sound. Songs that for the most part tread the regular ground of love and loss, but which are littered with the most wonderful couplets and snippets of insight which convey, if not a message of hope, then at least a wink and a shrug and a cup of tea.

And this is to say nothing of Macmanus who?s wide eyed and frantic stream of consciousness performance for some reason reminded me of those recently re-viewed Bob Dylan gigs, and the later songs in the set reminiscent of Leonard Cohen. High praise indeed. ?It ain?t easy being weird?, Macmanus deadpans at one point in the night. We can imagine.

Review by Thomas Ballhatchet from GigWise.

Feature:: Crimea Interview

Crimea Interview
Band:
Crimea

The Crimea started making an impact on the UK last year. Now, returning from touring the States and their debut ‘Tragedy Rocks’ these guys are out to prove themselves. Davey Macmanus [vocals/ guitar] answers R13′s questions.

R13: Hello. Where are you presently and what are your plans for tonight?
DM: I am lying in bed, my next door neighbours are having a party, they are playing ABBA very loud, I may go and complain a la Victor Meldrew, then I shall do some tai chi and dream about all the bad stuff I done.

R13: You’ve just returned from an American tour – which bands were you touring with and were you happy touring buddies?
DM: We make it our business to be friendly when we are in the US because so many English bands have bad reputations over there for being stuck up etc. This year we toured with Ash, Keane, The Bravery, Billy Corgan and Youth Group in the States as well as our own dates. We got on good with everybody although Americans in general struggled with my jokes. Usually you find other bands are really nice, even Billy Corgan who has a questionable reputation when it comes to socialising was sweet as pie.

R13: Which was the most memorable gig over in the States and why?
DM: For me the whole Billy Corgan tour was knockout, we were playing huge venues and his fans were all waiting outside the venue at 9 in the morning it was June and July, we were wisecracking about in an R.V, stopping off to swim in the sea and generally larging it up like crusaders. My favourite gig was El Paso it truly felt like the end of the earth, there were hundreds of starved cats outside the venue and the most insane sunset.

R13: You made video clips for the website – Why did you decide to do this and will there be more in the future?
DM: We decided to do it to try to give people a look at what we actually do. Unfortunately as soon as the camera turns on we all turn into the fucking young ones so it’s been a learning curve, we did it to try and familiarise ourselves with making videos so when we do make one it isn’t rubbish. We have shed loads more in the pipeline and indeed have been filming more or less everything we do. It’s just been tricky lately to get the editing done as we have been up to our eyeballs.

R13: So, beginnings. I read Davey and Owen started the band?
DM: Yes myself and Owen found ourselves living in the same house in Forest Gate, London, so far East it’s practically France. We had a 16track and made demos constantly for a long time, changing rhythms, tempos, keys structures. Working it out like a mathematical equation. Like fucking phi, you see that’s why we learned that stuff in school, we wanted a real band like U2 or REM. Not some half arsed association of bad haircuts.

R13: How did the others get involved?
DM: After a certain amount of time we knew we had some good stuff recorded and we were getting sick of working day jobs as we had no qualifications and couldn’t seem to rise above five pounds an hour salary. I found Andrew Stafford through a friend and he immediately became our keyboard player, he even had his own keyboard. Then Joe our bass player moved into our house after he met our next door neighbour at a free party, he was straight off the boat from Zimbabwe. As he lived upstairs, played bass and was of an even temperament it seemed obvious that he should join, also we often speak of going to Zimbabwe to assassinate Mugabe. We found Andy Norton our guitarist just before we went over to South by Southwest, he was the missing link and completed our line up. We met and auditioned many jokers along the way, wasting many hours as me and Owen were no good at telling people they were rubbish and could they please go.

R13: The new record ‘Tragedy Rocks’, was originally released back in March last year; you decided to re-record it in February and re-release it this March. Was it easier to record the second time round?
DM: We never really released it, we recorded it at home to take to South by Southwest, basically to make us look good. We then put it on sale online to make some money, but then we signed to Warners and everything got put on hold. If any of that makes sense. I think it was even harder to record the second time around as we were trying to make it sound better, also we were working with a producer on some of the songs and that was hard on me because up to then I had been used to getting my own way.
R13: Were there any major changes to any of the songs?
DM: There were no real major changes, we had kinda worked everything out on the demos and it was just a matter of recording it with a kick drum that actually sounded like a kick drum.
R13: I read there were new members for the re-recording?
DM: Well as such because for the re-recording we had a full line up, so it is mainly the addition of Mr [Andy] Norton which affected the re-recording because he added new parts and played all the old parts properly as opposed to my cumbersome fret suicide.

R13: The record company has decided to exclude 3 tracks off the UK release that are set to appear on the US version released early next year – why do you think that is?
DM: They just wanted a shorter more dazzling record I think, the American version is really long and possibly we don’t have as long an attention span as the Americans, ah.
R13: Will these tracks be released in the UK at a future date?
DM: They will all be made available to download free at a later date.

R13: John Peel was a fan of yours, especially of the track ‘Lottery Winners On Acid’ with the anniversary of his death approaching, what are your favourite memories of him?
DM: John Peel hated our first band. For seven years he refused to play our music, I once threatened to go on hunger strike outside Radio 1 because they wouldn’t play us. I practiced for a week to make sure I could do it. Two years later when I got some Crimea demos together my sister gave John Peel the CD and he played all 9 straight away. They were home recordings and I couldn’t believe that he had changed his mind about us, that my shitty demos were on the radio. It was fucking brilliant; he was the first person to realize that something had changed in our music.

R13: You put a lot of energy into your shows to create a dynamic performance; has this led to any injuries to each other?
DM: There have been several fallings off things, I once hurt my knee and Jason Donavon was in A&E because he’d broken his wrist doing the Rocky Horror Show. Knocked my tooth out on the microphone. Generally just bumping into each other, hitting heads on roof. My fingers always cut on the guitar, also I end up super gluing them and now I am convinced I have cyanide poisoning because I have a weird rash like Yushenko the Ukranian president that the Russians tried to disappear.

R13: Your UK tour is fast approaching, is there a certain place you’re looking forward to playing?
DM: I’m looking forward to the Autumn, there is no real place, I am looking forward to the fact you can smoke weed here with out getting in too much trouble. Wales is our spiritual home, so I am looking forward to Cardiff, I can’t wait to go out and see if anyone remembers us, we have been gone since last April when we toured UK with Ash, so it is going to interesting, but Reading was brilliant – so touch wood.

R13: Halloween is not booked up with gigging? What are you planning to dress up as to do your trick or treating in?
DM: Wurzel Gummage, because I wouldn’t have to try very hard.

R13: Finally, what does the Crimea hope to achieve in 2006?
DM: We just want to carry on regardless, always looking on the bright side of death, charging through the enemy lines, with the devil on our side, killing every weed which sprouts on the tarmac before us, trouble on ten legs.
We don’t want to work a day job ever again and will do everything in our power to ensure this doesn’t happen!

Interview by Hat Wray for Room Thirteen, 19/10/05.

Crimea – Tragedy Rocks

Frighteningly vivid lyrics entwined in catchy melodies…
Rated 9 out of 13.

Despite ‘Tragedy Rocks’ being their debut album, London five-piece The Crimea have already won plenty of recognition from their peers, touring with Travis, Kings of Leon and The Bravery, and have been favourably compared to the likes of Flaming Lips, Elliott Smith and Leonard Cohen. It’s also worthy of note that lead singer Davey McManus had his book of poetry and short stories ‘Unamazing Disgraces’ published last year. Unsurprising when you listen to the imaginative lyrical quality of this album.

Opening with what John Peel called, ‘the best song I’ve heard in years’, ‘White Russian Galaxy’ begins with a rather serious sounding piano intro, before emerging into relatively simple but beautifully catchy indie rock; it also provides the first introduction to McManus’ rough-round-the-edges voice and searching lyrics. ‘Lottery Winners On Acid’ sounds like it was written for a steel band, with a perfectly fitting, trippy rhythm and a warm hazy melody that will float around your head for an eternity, while ‘Opposite Ends’ takes a frightening turn towards a darker, echoey atmosphere until McManus bursts in with spoken, at times almost rapped, vocals before climaxing in a passionate, near-frenzied chorus.

Meanwhile, ‘Baby Boom’ returns to a more conventional sound, and it’s easy to let its cute, swirly melody, bluesy harmonica and mournful guitar wash over you. But that’s only half of the experience and would be ignoring the amazing lyrical quality of the song writing. If you can bear to have you heart-wrenched in this way, allow yourself to listen to the honesty and yearning in this song and you’ll find that you can’t help but be affected despite its deceptively happy melody. ‘Girl Just Died’ picks up the tempo once again and is probably the album’s most radio-friendly track with its catchy melody and jangly soft-rock sound.

After the slower sway of ‘Losing My Hair’ and the slightly cosmic ‘Bad Vibrations’ comes the fabulous ‘The Miserabilist Tango’; not as desperately miserable as its title suggests, but instead, almost hopeful in its despair and an anthemic call to arms for all those who feel that they just can’t take anymore. After climaxing in atmospheric layered vocals, pounding drums, smashing cymbals and weeping electric guitar, the album is brought to a close with ‘Gazillions of Violins’ and the particularly raw ‘Someone’s Crying’, both of which are haunted by the musical-box quality of a twinkling piano.

It might seem as if I’m labouring the point to continually refer to the lyrical content, but every little tragedy that McManus relates in his lyrics is built out of vivid, often unsettling images that leap out of the songs and dance in front of your eyes. Couple this with the sauntering, catchy melodies and occasional bursts of spiky passion and you have the proof that, in this case, tragedy really does rock.

Review by Christine Miller for Room Thirteen 20/10/05.

The Crimea – Tragedy Rocks

East Londoners The Crimea have slowly built a name for themselves over the past year, with the single ‘Lottery Winners on Acid’ raising the awareness.

This and 9 other tracks combine on this album to make a collection that has an almost rock opera feel to it at times, but retains the poppy indie sound that makes them so appealling.

The sound is generally bouncy upbeat tracks with some great piano accompaniment at time, especially on opener White Russian Galaxy.

elsewhere you go from the slightly theatrical atmospheric pposite Ends to the insanely catchy Lottery Winners (has to be re-issued as a single)!!

The Crimea are hard to pigeon hole which is probably a good thing, meaning the sound is their own. This really is a great album to make you feel good.

Want to hear more – check out their website http://www.thecrimea.net/

Tragedy Rocks is out now

Review by Adrian for Refresh Daily, 21/10/05.

The Crimea – Tragedy Rocks (Warner Bros)
UK release date: 17 October 2005

The Crimea - Tragedy RocksTragedy Rocks? With a title like that you just know this debut from Owen Hopkin’s and Davey Macmanus’ The Crimea (hailing from Plaistow not the Ukraine) isn’t going to be overflowing with earnest lyrical wrist-wringing of the Chris Martin variety. Made up of various ex-members of formerly up-and-coming indie types The Crocketts, The Crimea have a mischievous streak of humour running through their music.

With song-titles like Lottery Winners On Acid, it’s tempting to just label them the Bart to the Lisa of Coldplay and their ilk, but The Crimea make a play to appeal to both those who enjoy perky, poppy rock music with a head on its shoulders and those more inclined towards literate melancholia. It’s a case of wanting to have their cake and eat (or eat their cake and have it, if you will) and, you know what, for the most part they just about manage it.

Exuding more than the whiff of the Flaming Lips, the album kicks of with White Russian Galaxy, an instantly likeable single-to-be with a simple piano intro and much inventive use of banjos. Yes it veers a little too close to Space territory at times but it has a killer chorus (“Who knows what goes on in that pretty little head of yours?”)

The aforementioned Lottery Winners On Acid is cooler and catchier than a song with a novelty title has any right to be, bouncy and hummable and very endearing. But with the next track things get abruptly darker. Opposite Ends sees Macmanus switching to a raw, semi-spoken vocal style. It’s something of a dramatic change in tone but a not unwelcome one.

In fact the album is full of moments like that, moments you feel shouldn’t really work but, through some magic alchemy, come together. The offbeat lyrics and general quirkiness rarely gets in the way of the music, as it sometimes can with less talented bands; sincerity isn’t a dirty word. There’s a hell of a lot going on here; these guys have been honing their songs for some time and it shows.

Though it can’t quite match the appeal of those early songs, the album throws up a few more pleasures. Gazillions Of Violins brings out a real lighters (or should that be mobile phones) in the air finale: “life goes on; don’t fight it”, and the bleakly epic Someone’s Crying kicks off in faux Nick Cave mode (“Someone?s on their last legs, Lord, someone’s on their way out”) before lifting into a seriously Flaming Lippy soaring, sonic fade out.

Boasting just ten songs and coming in at under forty minutes, Tragedy Rocks does not overstay its welcome. And yet The Crimea manage to prove themselves as capable of musical brooding as they are adept with a catchy melody. Theirs may be a chuck it all in and see what sticks approach but, for the most part, they pull it off.

Review by Natasha Tripney for Music OMH.

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3 Responses to “Oh Goody, More Reviews”

  1. Denyer says:

    And in another fuckup from ilovedust, region.php no longer exists on thecrimea.net (neglecting to redirect to the index page, so visitors following the http://www.thecrimea.net/region.php links as seen on some websites will just be staring at 404 errors.)

    > ?you know, at that village where that kid bought a gun into school and shot a mate last year? says Owen

    Yeah, the band’s as tactful as ever. ;-)

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