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The Dear Hunter

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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. Although it was evident from his stint as singer of The Receiving End Of Sirens, the 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 now 32 year-old as a maverick, idiosyncratic talent whose music, while fitting a modern aesthetic, was also from a bygone era.
 
Anachronistic and timeless in equal measure, the narrative of The Dear Hunter existed in both the past and the present, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed, so did Crescenzo’s art, his experimental compositions blurring the line between different genres to create a sound that was – and still is – unique to the band. But then, halfway through the six envisioned Acts of the Dear Hunter narrative, Crescenzo’s attentions shifted. Between 2010 and 2011, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition, each EP was a musical interpretation of a color from the visible spectrum, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire, its clear Crescenzo is no ordinary musician.

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