Crave

Crave or Craving may refer to:

Entertainment and media

Other uses

See also

Crave (For King & Country album)

Crave is the first studio album by contemporary Christian duo for KING & COUNTRY, released on 28 February 2012 by Fervent-Curb Records.

Development

The album was recorded at several different studios in California and Nashville, Tennessee.

Track listing

Charts

Album

Critical review

Christian Music Zine's Tyler Hess said "if you’re looking for something new and powerful in the contemporary pop scene, then for KING & COUNTRY’s debut full length album 'Crave' is definitely one to look out for as one of the best up and comers in the genre."

Cross Rhythms' Simon Eden said "as a rock album, this is quite a man's man album - powerful stadium rock with a sound like a roaring inferno."

Indie Vision Music's Jonathan Andre said "Crave is not your cliché album, and I was very intrigued to listen to it, to see if their sounds on the album were similar to that of their sister, Rebecca." Furthermore, Andre wrote "though not a perfect album, this is a solid one from two Australians that will definitely go far in the American industry!"

Crave (play)

Crave is a one-act play by British playwright Sarah Kane. It was first performed in 1998 by the theatre company Paines Plough, with which Kane was writer-in-residence for the year, at the Traverse Theatre, Edinburgh. The play was initially presented under the pseudonym Marie Kelvedon; Kane used a pseudonym to avoid the distraction of her reputation for graphic staged violence from her previous works. Crave was Kane's fourth play. It is dedicated by the author to Mark Ravenhill.

Structure

The play reflects a stylistic departure from Kane's previous works, using a non-linear, poetic style, and is notable for its lack of staged violence that had been a hallmark of the author's previous work; this style is continued in her next and final work, 4.48 Psychosis. The dialogue is intertextual, and often it is unclear whom each line is addressed to. Much of the delivery of the text is left up to directorial interpretation. The author does not provide context, stage directions or descriptions of characters. The sex and gender of the four characters (A, B, C, and M) is only identifiable from context within the play.