THE CRIMEA

More News & An Interview

Ick. Tip for over worked webmasters: don’t try to open a PDF document in Firefox with half an unsaved news post in another tab. Meh… So, I’ll start again. Sorry for the lack of message board and comment posting available at the moment, circumstances beyond my control unfortunately, though the official site does have it’s own board, and it’s not even modded by me :o ).
Newswise, the News & Star website has a host of Crimea articles up, with not one but two previews of the Carlisle gig (one of which I mentioned yesterday) and also a review of the thing too.
Your daily Tragedy Rocks review comes from Halo 17 who, even with a 6.2 / 10 and unflattering first paragraph, they go on to heap praise upon the album.
Regular Crimea fans Sound Of Violence have a review of Tragedy Rocks up too, giving it 4 / 5. Oh, it’s in French by the way. Don’t you just wish you’d paid attention in language class at school now, eh?
Hopefully it won’t crash my browser this time: Redbrick, Birmingham (UK)’s University newspaper, had a review of the album in their last issue. Currently the only copy I can find is an HTML version via Google’s cache, which is for the best if you’re on Firefox anyways ;o)
Dunno what’s with all the Reading festival reviews all of a sudden. Ah well, here’s Cross Fire’s version of events, including a paragraph on The Crimea.
More up to date is The Sun’s newest Crimea article: a great review of their Camden Barfly show.
The band’s official photo blog has had some extras added to it, including a few band + fans shots, so see if you can spot yourself.
And we end on another interview with Davey MacManus, who gives Silent Uproar a history of the band in his own unique way. Expect plenty of “Oh no, I mean we definitely do”‘s. And apparently it helped inspire the album, so maybe you’ll get something out of it too: At The Drive In – Invalid Litter Dept. Ahh, the memories of year 10 work experience with that thing playing on the radio… I felt like throwing up at the time, actually. Nothing to do with the song though, I’m sure… yeah… enough.

CATCH THE CRIMEA WHILE YOU CAN

Brickyard press release

The Crimea are due to play at The Brickyard in Fisher Street, Carlisle on Thursday.

The Crimea are a London based band who are well known for their beautiful and sweeping rock?n?roll. They garnered the attention of the musical world at 2004?s SXSW and they are currently one of the fastest rising new bands in Britain.

The band?s debut album Tragedy Rocks, released last month, is said to be both lush and lacerating. It is made up of 11 edgy and melodic tracks laced with sonic ambition, tales of the mean streets, meaner romance and not so good times. The late John Peel described their tightly melodic tunes as ?the best I?ve heard in years? and other big DJ?s such as Zane Lowe are raving about them.

The Crimea was handpicked for opening slots with the likes of Kings of Leon, Dashboard Confessional and Ash. Their third single, “Baby Boom,” came in at number eight on John Peel’s 2003 Festive Fifty, just ahead of “Maps” by the Yeah Yeah Yeahs and “Seven Nation Army” by the White Stripes. Press have compared the band to such greats as The Flaming Lips and Leonard Cohen. They are destined to make it big.

The Crimea is made up of Davey Macmanus on vocals and guitar; Owen Hopkin on drums; Andy Norton on guitar; Andrew Stafford on keyboard and backing vocals and Joseph Udwin on bass and backing vocals.

The band is being supported by The Heights and People in Planes, who are currently on tour with The Bravery in America and are receiving rave reviews. This night of live music is the first of The Brickyard?s newest weekly indie night: Kool Jerk, which will occur every Thursday.

Ticket prices are ?4/?3 NUS. All tickets are available on the door or advance tickets are available through ticket web, linked from The Brickyard?s website www.brickyard.com.

Article from the News & Star website, published 08/11/05.

INTERNATIONAL CHARM OFFENSIVE


United front: The Crimea, from left to right, Joseph Udwin, Andy Norton, Andy Stafford, Owen Hopkin and Davey MacManus

COUNT yourselves very, very lucky that The Crimea are playing in Carlisle tonight .

The last time band members Owen Hopkin and Davey MacManus played in Carlisle, as part of The Crocketts, they vowed never to enter the city limits ever again.

It?s not likely that only two people will turn up tonight though, as the gig ? part of a nationwide tour, to promote their debut album Tragedy Rocks ? is one of the most talked about of recent months. The album has been described as ?both lush and lacerating… 11 edgy and melodic tracks laced with sonic ambition, tales of the mean streets, meaner romance and not so good times?.

The late John Peel described their tightly melodic tunes as ?the best I?ve heard in years?. Other DJs such as Zane Lowe and Radio 1?s Colin and Edith rave about them as well.

It?s not quite a home coming gig for keyboard player Andy Stafford, who grew up in Cockermouth, but this is the first time the band ? Andy on keyboards and backing vocals, Davey MacManus on vocals and guitar, Owen Hopkin on drums, Andy Norton on guitar and Joseph Udwin on bass and backing vocals ? have played the city, although they did a couple of ?intimate? gigs in Keswick last year.

This tour, which goes on until Christmas, precedes the release of their debut single, Lottery Winner, early next year. The song is already a favourite with their gig-going public.

Ticket cost ?4/?3 NUS, from the 24 hour box office on 08700 600 100 or via TicketWeb through www.brickyard.com

The Blueflies play a rare live date at The Brickyard tomorrow night. The band is made up of the ex-Zoot and the Roots members Miles Gilderdale on guitar and vocals, Gavin Ewing on bass guitar and Trevor King on drums and backing vocals. Ticket cost ?6.

Article from the News & Star website, published 10/11/05.

AN INDIE ROCK’N'ROLL INVASION

The Crimea
Strength in numbers: The Crimea

The Crimea, The Brickyard, Carlisle, Thursday November 10

THE Crimea formed from the ashes of the Crocketts, a band who appeared in the music press in the late Nineties, then disappeared not long afterwards. They were a brilliant live band, but didn?t really have the tunes to back it up.

The Crimea definitely do have some great songs however. Forthcoming single Lottery Winners on Acid is great, as is most of their debut album Tragedy Rocks, which is full of layered, slightly country-flavoured, indie rock.

Keyboard player Andy Stafford is originally from Cockermouth and his family have all turned out for the gig tonight. As the first band comes on, people are steadily trickling in.

First on stage are the Heights, who do indie with a rock?n?roll flavour, led by a very entertaining frontman, cracking jokes and singing with a powerful gravelly voice. People in Planes have supported bands such as Biffy Clyro in the past and tread similar ground, albeit a bit more indie and a bit less arty. The band put on a powerful performance, but their songs are all quite mopey, which gets a little samey towards the end of their set.

As The Crimea kick off their set with the brilliant Baby Boom, sound problems mean that singer Davey MacManus? vocals are initially completely lost, but by the end of the song, it?s all sorted. They follow it with the brilliant White Russian Galaxy, one of their best songs.

There is a dip in their set with a few similar sounding songs but things pick up again with Here Comes the Suffering, and keeps getting better.

MacManus moves across the stage like a malfunctioning robot, holding his guitar like a weapon and jerking around the stage.

As the band start their encore with their darkest song, Opposite Ends, bubbles spew out across the venue and MacManus, singing intensely, comes out into the middle of the crowd and the audience part around him.

They end their set with a brilliant rendition of Lottery Winners on Acid with a few people singing along passionately.

The Crimea are already quite big in the US, and they could easily become pretty well known over here. Hopefully they?ll come back to Carlisle before that happens.

Article by Mark Rowland from the News & Star website, published 12/11/05.

Tragedy RocksArtist: The Crimea
Title: Tragedy Rocks
Release Year: 2005
Style: Genre/Alternative, Genre/Rock, Tone/Dark
Label: Warner
Our Rating: 6.2 (Above Average)
Weighted User Rating: (Waiting for more votes)

If there was an album that was going to improve the somewhat negative image of emo rock and indie music in general, it is not “Tragedy Rocks” from The Crimea. In fact, if anything is going to make the whole scene look even more like a bunch of gutless sissies, then this is it. Davey MacManus whines, cries, and pities himself through songs entitled Bad Vibrations and Miserablist Tango, and even the upbeat moments scattered throughout the album are usually complex and have a downside.

What’s surprising then, given the above, is that “Tragedy Rocks” is so accessible and welcoming. MacManus loads his songs up with pop hooks galore, and ensures that even when the subject matter of his songs is dark, the songs are still easy to digest. Combined with a certain amount of absurdist content (some of the songs feature references to such things as Fred Flintstone), and you have yourself a recipe for a bright album with some very disturbing undertones.

The first proper song on the album, the interestingly named White Russian Galaxy goes for a straight-out rock and roll angle, complete with the lyrics about teenage girls drunk in public parks. While accessible, it’s nowhere near as infectious as Lottery Winners on Acid, which is a grand old pop song in the old style, complete with acoustic guitars, backing vocals, and even a touch of reggae added for good measure. It’s a particularly fine song, unashamed to be a great, accessible piece of pop music, and songs like this one are really one of the strengths of The Crimea.

Unfortunately, not all of the songs here are as infectious and perfect as the songs that open up the album. Opposite Ends, for instance, goes a bit too far and comes off as cheesy rather than humorous or sincere. Howling at the Moon and The Great Unknown are good songs, but they just don’t match the quality and intensity of some of the other songs on the album, and they end up making the album sound a bit tired at the end. Ruthlessly editing the album to get rid of these songs, making sure that the entire album was a killer, and relegating these off as B-sides or inclusions on some odds-and-ends compilation in a few years time probably would have made the good songs here have more impact.

But apart from a few pieces of filler scattered here and there on this album, this is a very impressive debut album. It’s not the best album released this year, and you’ve probably heard everything on offer here someplace else before. Nevertheless, this is some well-constructed, intelligent emo-pop with enough hooks and witty lyrics to be worth paying attention to. With a songwriting formula this good, The Crimea might just be onto something.

Review by Jacqueline Atchley for Halo 17, 14/11/05.

Artiste : The Crimea
Titre de l’album : Tragedy Rocks

Date de sortie : 17.10.2005
Label : Warner Music
Titres majeurs : White Russian Galaxy, Opposite Ends, Gazillions Of Miniature Violins

The Crimea n?a pas toujours exist? sous ce nom. Form? sur les cendres des Crockets qui se sont illustr?s lors de vibrantes tourn?es avec les Stereophonics, Travis ou The Levellers, le groupe emmen? par Davey MacManus nous livre ce premier opus estampill? Crimea en gestation depuis pr?s de deux ans.

Tragedy Rocks ne sonne pas anglais ? proprement parler. Ou d?une mani?re tronqu?e car la bande de Davey se nourrit de la pop anglaise des eighties qui lorgne sur l?indie rock ricain. Outre un amour avou? sur leur site web pour L?onard Cohen ( ce qui n?est absolument pas discernable ici) The Crimea puise dans le meilleur et dans l?anti-commercial des ann?es 80 : Nick Cave, Pulp ou Dusty Springfield. A commencer par le brillant single ? White Russsian Galaxy ?, ou le magnifique ? Opposite Ends ? tr?s glauque, aux effets ultra-chiad?. La voix f?minine convoque les heures les plus sombres de Sarah Mac Lachlan et le phras? saccad? de Jarvis Cocker. Enfin un groupe ? synth? qui ne sente pas la naphtaline ! Andy Stefford fait des merveilles derri?re son Korg.

L?album qui travaille notamment les ambiances, surtout gothiques (? Miserabilist Tango ?), allie des compositions lyriques et progressives ? des textes pop, parfois basiques (? Baby Boom ?, ? Girl Just Died ?) mais souvent poignant comme ce monstrueux ? Gazillions of Miniature Violins ?, avec son refrain repris en ch?ur par le groupe, clein d??il malin aux Poliphonic Spree. Un album sombre et froid, musicalement recherch?, le spectre de Danny Elfman rode autour de ce Tragedy Rocks, grande r?ussite de cette fin d?ann?e.

Note du chroniqueur : 4 / 5.

Rough Translation:

Artist : The Crimea
Album title : Tragedy Rocks

Release Date : 17.10.2005
Label : Warner Music
Main songs : White Russian Galaxy, Opposite Ends, Gazillions Of Miniature Violins

The Crimea were not always known under their current name. Formed from the ashes of The Crockets who you may have seen touring with the Stereophonics, Travis or The Levellers, the group fronted by Davey MacManus now delivers his first album in nearly two years with The Crimea.

Tragedy Rocks does not exactly sound English. Rather, it does in a truncated way because Davey’s band nourishes eighties English pop which takes from the yank’s indie rock’n'roll. In addition to acknowledging a love for L?onard Cohen on their web site (which is absolutely undetected here) The Crimea draw from the best and most commercial bands of the Eighties: Hollow Nick, Pulp or Dusty Springfield. To start with the individual brilliance of “White Russsian Galaxy”, or splendidness of “Opposite Ends”. The female backing voice conveys the darkest hours of Sarah MacLachlan and phrased jerkishness of Jarvis Cocker. Finally, a group with synth who don’t sound naf! Andy Stafford works wonders behind the keyboard.

The album works in particular environments, especially Gothic (“Miserabilist Tango”), combines lyrics and progressive compositions with pop texts, sometimes basic (“Baby Boom”, “Girl Just Died”) but often poignant like the monstrous “Gazillions of Miniature Violins”, with its refrain sounding like a choral group, much like the Poliphonic Spree. A dark and cold album, musicaly refined, memories of Danny Elfman grind around Tragedy Rocks, a great success for the end of this year.

Review by Aurel for Sound Of Violence.

The Crimea
Tragedy Rocks

Davey Macmanus, the driving force behind The Crimea, has managed to create that rare thing; a melancholy album that manages to sound upbeat. Track titles such as Bad Vibrations and Miserabilist Tango suggest tales of despondency and dejection, yet actually contain jangly guitars and harmonious melodies. Granted, the lyrics themselves tend to be navel-gazing and pessimistic, but the overall feel of the album is not depressing, but hopeful: ?Life goes on, don?t fight it.? Tragedy Rocks is indie warbling on an epic scale, and if you like that particular genre, Macmanus?s view of the desecration of his own mental state will fill you with feelings of empathy. If you think all of this is despondent, cheerless wailing, The Crimea are not for you. However, there is something elusive here that can be appreciated by everyone. I?m just not quite sure what it is.

Rating: 4 / 5.

Review by David Markey for Redbrick issue 1277, 04/11/05.

Reading Festival 2005
Clinging onto the side of a gazebo as it makes a break for freedom in wind I?m hit with a sense of deja-vu. The rain, mud and the smell of burning plastic in the air is back! Yes..it?s that time of year again already..it?s Reading.

SUNDAY

Having paid ?4 for a cold shower in some car park, I get back to the main arena just in time for THE CRIMEA. Fresh from their US tour with Billy Corgan, The Crimea play a criminally short set jam packed with some great tracks from their forthcoming album? Tragedy Rocks? ? Ex Crocketts frontman Davey has a soaring, captivating voice, especially in ?Lottery Winners on Acid? which has people dancing with its swaying, meandering melody. The tracks are catchy, full and intriguing with melodic keyboards and harmonica seduce your ears, as they filter through into another beautifully written hook. ?Somebody?s Dying? is a bit overkill for a last song, with its angsty screams, but all in all, it?s a great showcase for them.

Review by Dee Massey for Cross Fire.

A Crimea to miss them

the Crimea bizarre online
Hot new band … The Crimea rocked Camden

THERE were a couple of must-see gigs in London’s Camden on Tuesday night – but as the queue to see Madonna stretched around the block I decided to take in talented new band The Crimea instead.

With support from The Heights and People In Planes, cult venue The Barfly was packed out.

The Crimea finally came on stage just after 10pm and launched straight into the infectious intro of White Russian Galaxy.

With his soft, husky vocals and razor-sharp lyrics, frontman Davey Macmanus slowed the tempo right down to a whispered chorus before bringing the beats back up for the rock-laden chorus.

Playing tracks from their new album Tragedy Rocks, The Crimea created an intense atmosphere with their tremendous energy and the electric on-stage antics of curly-haired guitarist Andy Norton.

And bassist Jo Udwin’s sensitive backing vocals complimented song-writer Davey’s neurotic performance perfectly.

At one point the venue was swamped by two bubble machines and things got stranger as Davey jumped into the crowd with his mic stand to sing the love song Opposite Ends, hidden on the floor by delighted fans pressing around him.

The album tunes, which range from clever hook-filled pop to the Pulp-style Gazillions Of Miniature Violins, were all given a raw edge in the live set.

A surprising cover of cheesy 80s disco hit I Think We’re Alone Now followed, given a new twist by the gravely vocals and gritty guitars.

But the crowd had been waiting for one track all night – the brilliant, catchy single Lottery Winners On Acid.

The Crimea delivered up a polished performance of the sing-a-long track, before saluting the crowd goodnight – leaving it playing in my head all the way home.

Review by Gisella Farrell for The Sun Online.

THE CRIMEA [ September 30th, 2005 ]

Rising from the ashes of the moderately successful UK band The Crocketts, The Crimea are about to release their debut full-length, Tragedy Rocks, in January to the delight of fans and critics whose appetite was only whetted by the EP that came out earlier this year. The talented five-piece, whose members hail from all over, offers up music that is not only catchy but is damned intelligent and quirky at the same time.

Silent Uproar spoke with lead singer Davey MacManus while they were on their most recent jaunt around the US about their album, touring and the usual rock’n'roll stuff.

Silent Uproar: Where did the band name come from, why ?The Crimea??

Davey: Well I thought long and hard about it and it took a hell of a long time. Starting off we were called Fat Camp Heroes, and I wanted it to be Fat Camp Heroes, but it was just too comedy. The Crimean War wasn?t that bad a war; just a few horses got killed. So, basically a load of rich people just stretching their arms, pointing about. I mean, they invented a fucking submarine, but it was a joke, just a load of tin banged together. And all the generals brought their yachts over, and sat on their yachts off the coast of Russia. Anyway it just wasn?t that serious a war, so it wasn?t really offending anybody, and it just seemed perfect.

SU: I know most of you guys aren?t from the same area?-how did you all get together?

Davey:I mean, I was together with the drummer, Owen, for about a year before we got the rest of the band. Owen is from Whales and we lived together in London in a house, and then somebody moved out of our house and there was an empty room and the person who moved in was our bass player, Joe. He had just came straight from Zimbabwe, where he had been living up until then, you know, kicking off with Mugabe and all the rubbish over there, evil dictators and all that. After that we picked up our keyboard player Andy, and just started auditioning people and we auditioned, like, hundreds of people. It?s just so hard to find people that have sort of got the right temperament and were good and right. We finally got our guitar player, the other Andy, just before South By Southwest 2004, and we came over to South By Southwest 2004 and actually we played our first sort of proper gig with our lineup who we have now. That?s when we kinda got a deal as well, so that was really the beginning.

SU: You?ve played around the US a little now. Are there any venues or cities that have stood out for you?

Davey:I really like all the bad ones obviously, I fucking love them, man, you know I love every minute I?m here, it?s absolutely insane. To us it just like being on a different planet, but you know, I guess my favorite place is when we?re getting out to the middle of nowhere like, you know, El Paso, or whatever. We played down there and we were in Oxford, Mississippi recording for like two and a half months, and it was just completely in the backwoods and it was just brilliant, and yeah, I like the wild bits.

SU: How was it opening for a veteran act like Ash on your first trip over?

Davey:Yeah, it was good, I mean, it was Ash and The Bravery and they were both good. We?re all completely different types of bands. It was just good to get all that teething over here and sort of get our first trip on the big seven week tour. People are always slagging off bands from Europe and saying they can?t tour and they can?t deal with money and they?re a nightmare. So we wanted to go in and be really friendly and happy and not cause any trouble and just spread the message or whatever and it just worked out really well for us.

SU: I know it can be tough for a new band opening on a slot with, well, The Bravery was kind of new at that point, but Ash was pretty well-known?-do you feel like you picked up a lot of fans from that tour?

Davey:Yeah, I mean we definitely did, and you know from Billy Corgan as well. We picked up a load of fans because, I think the Americans are much more willing to, you know, if you could, they do stand there and say ?impress me,? but in Europe it?s sometimes a bit more like, you can shit on stage and they still wouldn?t be impressed. You know, no matter what you do, you can?t change their minds. Over here, you definitely have that chance to change peoples? minds. They definitely give you a little chance. And our job is to just like see that little fucking peace offering there for taking and just give them back a smack on the lips.

SU: Have you met anyone in the industry who has kind of surprised you as being nicer than you thought they would be or anyone who has been a bigger ass than you thought they would be?

Davey:Generally the myth is like, say Billy Corgan, you know, I was shitting a brick going on tour with him. I didn?t even speak to him for the first week because I thought he was going to bite my head off, and then when I did meet him, he was like, ?Oh I love your book, I love your music,? you know, ?you?re so great,? and all this. It?s like you couldn?t even be proved more further wrong. I mean, I?m usually surprised by how short people are. It?s always a myth on how tall you think they are, they?re usually like midgets, and then they?re usually really, really nice. Like, you want to hate them and then they turn out to be the nicest person, and I?ve just come to expect that, really. You know, it tends to be like the first local support heavy metal band who?s got an attitude problem. How many people got an attitude problem and actually made it in this?you know, you can?t afford to have one?(pause) anymore.

SU: What?s the biggest change since putting out your EP and now the new album, and having a new record label and everything?have there been any noticeable changes, like either in your life or in the band?

Davey:I think up till now we?ve just been doing everything on our own, and through the blog, and online, and sort of building up a fan base through word of mouth and live shows, and now the sort of change is coming into that we?re actually trying to spread the gospel a bit hard, and we?re just stepping up a level basically. A new kind of battle plan. We?re just stepping up a notch, you know, to just get the whole ball rolling in terms of using Warner Brothers, the record company, and just push it forward.

SU: Have you been happy with your relationship with Warner?

Davey:Oh yeah, you know, I mean, it was a long process getting it going and so, we?ve ignored the industry for so long because everyone was working day jobs and no one was prepared to give up and just concentrate on music, and we?re just lucky. I mean, the relationship is what you make of it yourself, and we?re determined to milk it for every ounce it?s worth. They can only be a vehicle for what you?re trying to do yourself and so far they haven?t encumbered us in any way. They?ve only been one for help.

SU: When people are trying to describe a new band or a band that no one has heard before, they like to make comparisons to other bands. Are there any bands that you would put yourself in the same category as?

Davey:Well I mean, the ones that I always say are Leonard Cohen and Dusty Springfield, ?cause I really like their music and their style, and their singing, and how they play, and that?s what I aspire to. But you know, people always think different things. I don?t know, Nirvana?s ?Where Did You Sleep Last Night,? even though that?s a cover, or stuff like Springfield, again, that album, and ?Broken Arrow,? when Neil Young sings on the last track on the album. I?d say it?s trying to be like that.

SU: Who do you think is making some of the best music right now?

Davey:Uhm, uhm, I like System of A Down?s new album. Uhm, (laughter)

SU: And that?s a little unexpected.

Davey:Well, I just think they?re truly doing something original, and I thought that my favorite band of the last sort of five years is uhm, oh God, the guys who formed Mars Volta?then fucking ?One Armed Scissor,? I know it?

SU: At The Drive-In?

Davey:See I knew it, At The Drive-In. Like that that one album?it was just because there?s one song on there, and it?s the fucking ?dances on the devil?s ashes? or whatever. Really helped inspire us with this record, even though I couldn?t remember their name a second ago (laughter). Plus I don?t really have a CD player, and I just kind of listen; if I do know what?s going on, it?s just whatever the guys are listening to in the van. System of a Down is good driving music.

SU: Just maybe not in traffic.

SU: The advance of the record that I got had a pretty creepy yet almost appealing image on the front of it with a man holding his face. Is that the official cover art for the release?

Davey:Yeah, it is in the US. Yeah, definitely.

SU: What is the idea behind that cover?

Davey:I think it was just, ooohhhh, you know, I think the graphic designer was trying to sort of show you there?s two sides to everything I guess and saying, you know, I don?t know, she?s just trying to get in with the music and say look, ?it looks sweet but really it?s pretty fucking grim underneath.? You know, shiny music, realist lyrics. And you know, I think she just sort of mutated me or whatever. I mean we were working with Adria Petty, she?s Tom Petty?s daughter, sort of is our creative director, which is something they have in America. I?ve never had it before but that?s what they have down there. She worked with Regina Spektor and we liked what she did with Regina Spektor and then we got Regina Spektor to sort of talk over it. She does the intro to our set, you know, it?s just her talking, reading out this thing, just kind of this, yeah, a load of, it was?I guess it stemmed from that, and yeah, Adria Petty, she kind of graphically worked it out or whatever.

SU: Does the band get involved with the art very much?

Davey:Oh no, I mean we definitely do. We?re really involved with kind of everything like that in terms of, you know, we just like to really keep a firm, clear eye on everything. We do all our website ourselves and we just sort of keep it constantly changing because it?s so annoying when you go back to some one?s site and it?s stuck in the fucking same like as it was the week before. And uhm, no, we just, we?re quite fascist about it all. The artwork, no, I mean it took a hell of a long time. It was like getting different people for us to decide what not to do, and that?s a new thing for us, we?re starting to learn to deal with. You know, we aren?t putting out our own singles out anymore.

SU: Do you think that the album art and packaging are become more or less important in the age of iTunes and mp3s and all that?

Davey:I think it?s still really important. I mean, if you have one really central sort of image which is just really striking, it can really help. And also, people who buy the records are all about forty years old anyway, or a lot of them, and it still really appeals to them, and you can?t forget that. I mean, that?s the way it is in the U.K. I don?t know what it?s like over here.

SU: I think we?re kind of in the middle of a change. I think there are still a lot of people that are really still hooked to album art and packaging, but I guess that the really young, new generation is the one that?s kind of like ?Just give me the songs, I don?t care about the rest of that.?

Davey:Yeah, they?re not interested ?cause they haven?t been used to it all their lives. It?s what you know, isn?t it? But no, we?ve really embraced the whole technology thing. We?re absolutely mad for it. You know, we just go around the States and we park our RV wherever we can get wireless. We all sit there on our laptops and talk to each other.

SU: You?re having a party tomorrow night to celebrate the digital release of the album, right?

Davey:Yeah, yeah we are, yeah. SU: Do you have any cool surprises planned? Davey:No, I think we?ll just? yeah, I mean, we?re just gonna play an acoustic set and it?s just supposed to be fun. We?re gonna be spinning some tunes and it?s just gonna be classic, you know, I guess Black Sabbath. The Gambler. When Black Sabbath did ?The Gambler.?

SU: I?m assuming that the decision to release the album online for now was a decision by the label?

Davey:Yeah.

SU: Are you all cool with that?

Davey:No I mean, no. Essentially what was happening was , you know we just been over here doing so much hard work ?cause we just didn?t want to waste it and we really wanted to have something that other people could get hold of as in like, so they can buy that advance thing at the shows or else they can buy it on iTunes. I know its really working for us because now people know the record. They?re coming to the shows and everything. And all, you know, also because the record comes out now in Europe on October 16, so kind of, in terms of geographically speaking, we?re about to go and do about fifty shows over there. Then we?re coming back over here in January/February when the record is coming out, so we all have to do the same here again. So it?s just, I think it was just fate really, and such. I mean, there was nothing we could do about it, it just worked out that way.

SU: The US release of the album is a combination of songs that you released on the ?Lottery Winners on Acid? EP and new things?

Davey:Yeah, I think it was just more than anything else cause we got a backlog in tracks basically. I mean, Warner Brothers just released that E.P. to like College Radio and as a promo thing, really. And then we sold it at our shows so like, I think we just sold like a couple thousand copies of that CD at our shows over the last few months and so there was just no panic about it. Like, it was just about re-releasing the same songs. So, I guess they?re sort of sonically better, you know, ?cause we mixed them in a real studio, but to the average kid it doesn?t make a lot of, you know.

SU: I?ve listened through both of them. Some of them are obvious, the changes you made, and some sound more like the original. Are you happy with the way they sound now?

Davey:Yeah, I mean, the way they all sound now is just completely different because, you know, we got the two really good live bands and everything and we can crack them all amazingly well, and when we were recording them all it was like more of that just drums and acoustic guitar and then throw everything else on afterwards. We approach it from the other way around now. I?m happy with it all. Obviously, you know, it?s always weird seeing, when you see something that you?ve had for a while. But uh, just gotta take it on the chin and you know, make sure that you?re still writing something amazing. Make sure you got ?Everybody Hurts? up your sleeve when push really comes to shove, you know.

SU: Does that mean that we?ll see an album of new material sooner?

Davey:Yeah, most, most definitely, man. I mean we signed like a two record deal with Warner?s. I mean a two, and two record firm like we signed like a seven album deal or something, but we signed like a two firm because, we just got two in the can basically, and number two is ?The Bends?, you know, but we?re at number one at the minute and it?s ?Pablo, Honey.?

SU: Alright, the last thing I?ll ask you, is do you feel like you are just getting started as a band, or that you have already been at this a a hwile?

Davey:It feels like we?re right at the spot. I mean we?ve spent all this time where we kind of built up this real cult thing and all this just through the Internet, and through word of mouth and playing live and now really it?s just about the next stage. We need to take it up a level beyond all comprehension and just keep pushing it to see if, well not see what happens, I have a very clear idea of what is going to happen, but we just gotta keep playing pretty much all over the place, man. There?s a lot of shit out there and someone needs to come stir it up.

Review taken from the Silent Uproar website.

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