There’s no way I wasn’t going to like The Dear Hunter from the get-go. Look no further than the title of the first album: “Act 1”. If that doesn’t bode well for a concept album-loving nut like me, I don’t know what will! In fact, the reason that I looked this band up in the first place is that, much like Coheed and Cambria, all of of their output (at the time) was devoted towards following a single narrative over multiple albums. This was all I needed to hear – and I was not disappointed.
“Battesimo del Fuoco” has the honour of being the third-most listened-to song in my iTunes (it has stiff composition), and opens the album, in my opinion, perfectly. A majestic modern Greek chorus announces the protagonist, born into the world amidst serious strife, as we will find out in two songs or so as the story opens. An interlocking chorale with no instruments to be found, each vocal line interlocking with the array of harmony vocals behind it as we are told “the flame is gone/the fire remains.” This, combined with the somewhat gentle instrumental that follows (“The Lake South”), both about two minute introductory pieces, would not nearly prepare me for the onslaught of the rest of the album, as I thought I might be getting some standard orchestral prog flare to this tale, so I sat back with my cocoa and prepared to soak it in. I was not ready for “City Escape.”
A rhythm section barrage starts off the proceedings as a guitar comes needling in, and then sets the rhythm, barely able to keep itself under a breakneck pace, clenching its fists as more harmony vocals come in, masking the assault of the chorus that is about to come. Casey Crescenzo screams the song’s refrain, both aggressive and verbose – “plagued by practical/and a mercenary lust/they tear at her skin” – while the bass rumbles and the drumsticks are finally let loose to wander as they please. The song the weaves back and forth, switching from piano, to electronic effects, to more choral vocals to slow the tempo down before unleashing the chorus once again, showing off an impressive arsenal of instruments for what is essentially a solo project. We even hear some animated trumpet lines in “The Pimp and the Priest”, which has a vague New Orleans feeling about it, with the brass, jaunty piano and shuffling 3/4 time.
As the story is detailed of the protagonist’s mother raising her son in a whorehouse, we move through a number of almost uniformly muscular six-minute songs. Each has its own little facets and tempo changes and a killer hook; out of the chaos of just about every song on here, comes a melodic phrase that’ll lodge itself in your head for days at a time. For me, Crescenzo’s voice was the initial stumbling block. Far from your classic prog singer, his voice has a timbre heard in a lot of punk bands, and “City Escape” had me worried that there was going to be a significant amount out and out screaming vocals on the album, which is one of the few things that will get me to turn an album off immediately. Luckily, he remains just on the edge of it the entire time, which I actually find gives the album a little excitement – he has incredible restraint, but gives the illusion of none.
To be honest, I’m not entirely sure of the scope of the story just yet, for a few reasons: a) only half of the albums in the story cycle are out as of right now b) Acts II and III are Leviathans compared to the scant 40-minute running time of this album (I initially heard it described as an EP, which I goggled at, but made more sense once I saw the length of the other albums) and c) I can’t stop listening to this one. Top to bottom, there’s not a duff track here, and it doesn’t overstay its welcome. Always one of my go-to albums. Not that Casey Crescenzo is making it easy to pick one.
Since releasing the first three acts, The Dear Hunter has taken a break from the narrative and has produced both a standalone, non-concept studio album (Migrant), and a set of nine EPs based on the colour spectrum called The Color Spectrum, each EP carrying with it its own distinct style of music, but all thoroughly enjoyable. I’m eagerly anticipating his next release, but will be listening to this pretty constantly until that arrives.
“Battesimo del Fuoco”:
“The Pimp and the Priest”: