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Act I: The Lake South, the River North

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Customer Reviews

Full of ideas but leaving something to be desired...

I remember the day I bought this album, shortly after it came out. I asked the guy at the counter what he thought of it. I knew it was from Casey Crescenzo, formerly of TREOS, and according to the random guy at the counter, it was great. So I followed his advice and Casey's reputation from TREOS, and figured this could be a great new venture like TREOS turned out to be when I first bought their album on a whim. Let me say, this album left a lot to be desired. I can't say I was expecting the Receiving End of Sirens; I knew it was going to be something totally different, and it definitely is. Unconventional instrumental arrangements and melodic changes make this a unique venture. There are multiple influences, but every time I listen to this album, I feel like he was so anxious to combine his influences to create something great and instead finished it as an unfocused jumble of inconsistency with some flashes of brilliance. The album starts off on a good note, and builds up to something that sounds like it can be great, from the dark undertone of the "Battesimo del Fuoco" to the beautiful arrangement of "The Lake South." Then out of nowhere, "City Escape" explodes and you hear something totally new and exciting, albeit while sacrificing what could have been a more chilling extended introduction rather than rushing into it. Although "City Escape" has something unique going for it, it is spaced out much longer than it should be, and the moment halfway through the song where it almost seems the band goes to sleep for a minute destroys all the momentum the song had going for it. When it finally returns, you've lost interest and wonder why the song is first rushed and then suddenly spaced out for no apparent reason. It just doesn't feel right, and this inconsistency is one of the main things that plague this album. "The Inquiry of Ms. Terri" is a little bit better in that aspect, but the song just lacks a dynamic chorus and feels as if it settles for something less than what it could have been. The instrumentation is interesting, but evokes little emotion from the listener. "1878" has so much going for it, but what starts out as a beautifully textured song turns rigid when the chorus is plagued by an annoying high hat and strained vocals. The bridge of the song is stronger, showing Casey's strong musical prowess, and it actually helps the flow of the song into the chorus again. "The Pimp and the Priest" is an interesting song because even though I didn't fall in love with the circus-like melody at first, I think because it allows itself to be restrained it succeeds by the end. The song feels subdued, as it should, and doesn't try to force an unnecessary overkill of sound. "His Hands Matched His Tongue," has a great arrangement to it and ultimately succeeds. It's more melancholy and heartfelt, and for once on the album, feels right at home in where the track is placed. "The River North" is a nice conclusion and helps complete a solid second half. I do enjoy this album, but I am not going to rate it like most other Itunes users do. It seems if people think an album is good, they give it five stars. Shouldn't an album that is simply good only be awarded three stars while four and five stars are saved for the albums that are great and extraordinary? I can see some awarding this album four stars, but this is not a five star album. I'm giving it three stars because I feel the ambition is there, the creativity is there, but the overall execution is lacking and sometimes bordering on pretension. There are a lot of positive aspects to this album, and Casey Crescenzo has created somewhat of a unique sound, yet it still pales in comparison to his contributions to TREOS and leaves the listener feeling a little empty and out of touch with the music. It's definitely an album to listen to but don't believe all the hype these other reviews on Itunes are giving it. Casey's sound is only being developed here; it has yet to be fully realized and hopefully he will understand where this album succeeded and build on that in the future.


i've never heard an album so well done before in my life. Ive been a huge fan of Receiving End of Sirens for a pretty long time now and the second i heard about Dear Hunter i went straight to purevolume and previewed the cd, I WAS BLOWN AWAY! The Dear Hunter is music from the old guitarist of TREOS and this guy really knows what hes doin! Lake South River North sends you on a journey with its theatrical type flow and its groundbreaking riffs, with an orcestra of sound that will grap you and wont let go. EVERYONE NEEDS TO BUY THIS CD!!!!


Produced with perfection, and with an absolutely unparraleled orchestral style of writing, this EP is one for the ages. You just dont come acrosss music that changes your life very often anymore. I cannot stress how importants this CD is for people who like.... well, good music.


Formed: 2005 in Providence, RI

Genre: Alternative

Years Active: '00s, '10s

The Dear Hunter started as a solo side project by singer and keyboardist Casey Crescenzo, formerly a key member of Belchertown, Massachusetts emo act the Receiving End of Sirens. An outlet for Crescenzo's songs that didn't fit the Receiving End of Sirens' heavy post-hardcore vibe, the Dear Hunter was initially envisioned as a concurrent project. Indeed, Crescenzo's first gig as the Dear Hunter was an opening slot for the Receiving End of Sirens, at which he was backed by the other members of the...
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Act I: The Lake South, the River North, The Dear Hunter
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Customer Ratings