Review Summary: Out with the strings, in with the synth.
I was a latecomer to discovering The Dear Hunter, my first album of theirs being Act IV. But my love for them was instant. Their ability to weave together storytelling, beauty and low-key technical flexing was nothing short of spellbinding. From where I sat, here was a band that could do no wrong. Casey Crescenzo’s knack for making beautiful music had me hooked in the best way. But then the Acts were over, and The Dear Hunter practically disappeared.
Six years, two EPs, and an instrumental compilation later, a new single was dropped and an actual album announced (with a release date of all things), resulting in my acting like a seven year old being told I am getting a brand new Lego set or something. It certainly helped that the single was catchy, if different from their earlier sound.
Then the release date came, and now I’ve listened to Antimai. And while I want to say that I unashamedly loved every second of it, I cannot help but feel a little bit let down at the same time.
To start with, anyone expecting a smooth transition or follow up from the Acts into Antimai should end their delusion now. This album is musically, stylistically and emotionally different. It’s not necessarily a bad thing, but (and herein lies possibly my biggest gripe with the album) it comes across as a bit forced. As though Casey really wants the listener to know that this is a different era of TDH and that they will not be getting the same old thing. These changes go so far as the genres of music being played down to minutiae like each song actually ending before moving onto the next.
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).
It’s almost like the level of musical cohesion has the opposite effect of what seems to be intended. Part of my joy in listening to this band is wondering what they are going to do next, what style or genre they will dabble in and when the next orchestral refrain will glide in and fly me on wings of joy into vistas unknown. Unfortunately by the time I had hit the halfway mark of Antimai, I found myself subconsciously knowing what was going to come next, which detracted a bit from the fun of listening to it.
All of that being said there are plenty of redeeming qualities to be found, starting with the fact that Casey is damned good storyteller. The lyrics are excellent, and aside from being a sort of social commentary, they really capture the group mentality of each ring. The poor having given up ever seeing wealth and just praying for a release from their bondage; the industrial class doing everything they can to crush the hopes of someone trying to climb to higher station; the middle class knowing that their lives are miserable, but not miserable enough to change the status quo; and the condescension and disdain of the wealthy for those beneath them. It’s very clearly communicated and is very apropos in modern times.
Musically the album is very tight. The band has lost nothing in terms of delivering a perfect blend of technical prowess that even the most elite of elitist would admire and pop/rock sensibilities that make their music so accessible to the common man. While the strings may be all but gone, that synth is in. The bass lines are groovy, the guitars pleasing and the drums just right. Casey still delivers his soaring and utterly beautiful vocals. And the whole synth-rock/disco vibe had me outright wanting to dance at times, until I realized it was hard to dance to a song being played in 7/8 while alternating between full and half time.
As an example, “Ring 7 – Industry,” the first single off the album, features a fantastic synth line that snakes its way through the song, while effortlessly culminating in a downright funky bass solo. “Ring 3 – Luxury” jumps between tempos and genres in classic DTH fashion, all while Casey’s words paint the greediest bunch of bastards that I already love to hate. The album’s closer, “Ring 1 – Tower,” grooves like mad and then ends beautifully.
In summary, while the album is certainly fun to listen to and is definitely still The Dear Hunter, be prepared for a different experience than what you’re used to. Others may not have the same gripes that I do, but hopefully I overcome these feelings. And, to be real, I would be lying if I said I wasn’t excited to see where the story of the Indigo Child takes me.
