Dear Data

It’s been almost a decade since Casey Crescenzo brought The Dear Hunter - both the band and the character of the same name - to life with his 2006 debut full-length, Act I: The Lake South, The River North. This record revealed Crescenzo’s incredibly inventive and ambitious musical flair, something which has been evolving ever since. The two albums which followed - 2007’s Act II: The Meaning Of, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death - cemented the artist as a maverick, idiosyncratic talent whose music, while fitting a modern aesthetic, was also from a bygone era. Act I/Act II: This is the story of a boy, from his creation to his untimely end; from the beautifully rapturous to the truly tragic. The Dear Hunter sings of something to which we can all relate: lust, deceit, greed, and hunting…

In the decade that The Dear Hunter has existed, Casey Crescenzo, the mastermind behind the concept, has been nothing short of both prolific and creative. Now past the halfway point in this 6 part series, The Dear Hunter sounds more cinematic and opera-esque than ever, while still being very much a prog-rock listen at its core. At over 70 minutes and songs as long as 9 minutes, there’s a wealth of sounds here, including jazz, orchestral, dance and rock, and it isn’t uncommon for guitars to take a backseat to keys, flutes, trumpets, etc. If you’re a fan of Crescenzo’s harder moments, there’s enough here to keep you satisfied, but the classical and softer moments dominate and illuminate the album.

After building a reputation as being a concept-record mastermind and releasing four highly-realized conceptual works under The Dear Hunter name, frontman Casey Crescenzo has taken the path of the original 70’s proggers: he’s gone back to basics.
Comparisons aside, you’d be hard-pressed to find another recent album that sounds like Migrant. Although the record is mostly filled with shorter songs that do not share any particular thematic or conceptual space, the songs and arrangements themselves are still rich and unique…

THE DEAR HUNTER was originally a side project by guitarist and vocalist Casey CRESCENZO of post-hardcore band THE RECEIVING END OF SIRENS…

The album takes the listener on a guided tour of the rings of the city serving as the setting for the story of the Indigo Child. As is evident by the track titles, each ring houses an increasingly well-off subculture with the center being the tower of the ruler. While the lyrics do an excellent job of highlighting the societal issues of each area (more on this later), the music doesn’t always follow suit. The album has a very unified musical theme, which is almost synth-rock and disco. While it helps the album have a more cohesive feel, it doesn’t necessarily always turn out well. For this reviewer, possibly the most glaring examples of this problem lie in “Ring 4 – Patrol” and “Ring 2 – Nature.” The former discusses the faction of the society used to enforce oppression on the population and the power-hungry officers who abuse their privileges, but having Casey nearly scream about police abuse over a funky beat doesn’t quite sound right. The latter similarly did not seem to fit with the theme of the lyrics (on top of the fact that I couldn’t actually understand the society within “Ring 2” and admittedly need to re-listen to it).