The Dear Hunter (playing Act 3 in its entirety)

The Dear Hunter (playing Act 3 in its entirety) (9:20 PM)

Northern Faces (8:15 PM)

Naive Thieves (7:30 PM)

Sat, May 23, 2015

7:00 pm


Sold Out

This event is all ages

Playing Act 3 in its entirety

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The Dear Hunter (playing Act 3 in its entirety) - (Set time: 9:20 PM)
The Dear Hunter (playing Act 3 in its entirety)

Having spent the better part of the last 6 months indoors, I’ve developed a bit of a necessary wall in regards to contact and communications, but Ill do my best in this message to convey surreal internal musings with realistic external translation.

Within the past decade spent behind The Dear Hunter moniker, it would be foolish to say I haven’t swayed with the times, and that I hadn’t rubbed elbows with thoughts of giving into the tide. There has been an always open door behind me, suggesting me to do any number of things to appeal to wider and more quantifiable audiences. However, in times when this door seemed widest of all, I always felt the need to turn and push further away.

It’s a pretty old cliché - the story of a band gaining notoriety on something unique, or at the very least, something honestly themselves - trimming just enough off of who they are to fit the mold, then living out a life of diminishing creative return.

When I started The Dear Hunter, there were never any aspirations associated with fame, or sales… only aspirations associated with creative output, and a cohesive body of honest and progressive work, that at the very least could account as some sort of chronology of my creative life.

Along with that wish to constantly grow as a songwriter, came the desire to improve as a performer. This, at first, felt incredibly foreign to me - as someone who spent almost all of his time locked away creating (a very introverted behavior), the idea of such a social display was frightening. Anyone who witnessed the early shows for The Dear Hunter, can vouch for that palpable discomfort. Over time, I began to discover the live performance as an opportunity to create something new, and fleeting, each night - with an entirely different palette of instruments, both musical and human. Though the fear of the stage, and nervousness associated with outgoing interactions never left, a new feeling eclipsed them both - and with this grew the desire to improve. It was always a journey of some strange faith.

This is what I spend my time doing. My life is lovingly devoted to improving myself in all areas. Mental, emotional, physical, creative, metaphysical… I have always tried to take the same approach with The Dear Hunter, no matter how hard the adversity, whether personal or financial, I have only strived to make better art.

From this desire to grow, and through incredible fortune, I was given the opportunity to design a tour that I had never thought possible. A night devoted to performing with The Dear Hunter and a string quartet.

Luckily, Equal Vision Records was kind enough to furnish us with a system capable of multi tracking the entire tour - something we had never done before. While moments of hilarity exist (and they are wonderful), we’ve lovingly combed through these recordings to bring 10 tracks of this tour to the ears of any and all who might be interested. I hope that you feel, listening to the music, the love and excitement we felt performing.

I wanted to surprise our fans with this release, as it is my gift to you all, for supporting me over the years, and never giving up on me. Thank you, from the bottom of my heart, for your continued faith in The Dear Hunter.

I want to humbly ask you all to share this letter. Word of mouth has always been the lifeblood of this music, and the suggestions of good friends always outweigh a well placed banner ad.

I leave you all now, scurrying back into my cave with my nose to the grindstone, preparing the next record for The Dear Hunter… It is coming along swimmingly, and I can’t wait to share it with you all. Please keep your eyes peeled for Act IV: Rebirth in Reprise, coming later this year.

Sometimes, it takes a while to find your way home, wherever "home" may be. But when you do, it's nothing short of glorious. And that, in a nutshell, is the story of The Dear Hunter's new album, "Migrant."

Casey Crescenzo, mastermind of The Dear Hunter, was born into music. His parents met while both were working at the Record Plant recording studio in Sausalito, California, where Stevie Wonder recorded "Songs in the Key of Life" and Rick James recorded "Super Freak." He started learning to play guitar when he was eight, using his mom's '64 Harmony Bobcat ("basically a piece of cardboard with a tin foil pickup and strings," he recalls), and from the ages of nine through 14 he pretty much listened to nothing but Jimi Hendrix. He broke his left arm in the seventh grade in a basketball-dunking stunt gone awry, and spent the summer playing guitar with a cast on. When the cast finally came off, he found he was able to play far better than before, thanks to the months of resistance, and he started playing along with Steve Vai and Frank Zappa records in his room.

Toward the end of high school, Casey joined a band called Dillusion, on guitar -- at that time, he recalls, "it seemed like every band in Southern California was a nu metal band." They signed a development deal with Epic Records, but after co-producing an EP for the band, Casey ultimately decided it wasn't a good musical fit for him, and left the group.

Pessimistic about his future in music, he sold all of his musical equipment and moved across the country, living briefly in New York's Hudson Valley before moving to Boston. But a number of job opportunities in film editing and computer graphics fell through, and he ended up living in the apartment as a recluse for three months before he was evicted, and wound up homeless on the streets of Boston for several months. (He never told his parents, talking his way around the fact whenever they spoke.)

He finally found an apartment, living with three girls who didn't require a credit check (a vital requirement, as Casey had no credit to check). One of them worked at a local Urban Outfitters store, and got Casey a job as a cashier. And after a couple of months, Casey found his way back to writing music again. A couple of his co-workers at the store had a band, and word got to Casey that they were looking for a singer. He was hesitant, as he'd never been a frontman before, but he gave them a demo tape anyway, and they liked his guitar playing and synthesizer/sequencing skills, so, although his voice was too mellow, they wanted him to join.

That band was The Receiving End of Sirens. They quickly released an EP, and a year after Casey joined the band, they released their debut album on Triple Crown Records. The band hit the road as soon as the album came out, and stayed there for a year solid, supporting a variety of other punk and hardcore bands across the country and joining the Vans Warped Tour for a stint in 2005.

It was Casey's first taste of musical success, but he was exhausted. In the previous three years he'd gone from heartbroken and homeless to life on the road, sleeping on couches and floors, and putting in a ton of work on top of playing in the band: building their website, handling their merchandise, directing and editing music videos, and recording all their demos. He felt intensely creative (and the band didn't have any money to hire other people to handle these things anyway), and so he relished the work, but he was running himself ragged. He grew sick, and with no time to rest, no health insurance, and no money to pay a hospital bill, it got worse and worse, and his demeanor soured accordingly. By the end of the band's first headlining tour in the spring of 2006, he was out of gas, alienated from his bandmates, and was sure he was about to get kicked out of the band. The others assured him this wasn't so, he just needed to rest for a while, and packed him off to his parents' house in California... where he arrived to an email from his bandmates, telling him he was out.

But what seemed like the tragic end of yet another road for Casey turned out to be the best thing that could have happened. He'd been writing and recording songs on his own, on the side, just for fun, and labeling it The Dear Hunter; and the day after The Receiving End of Sirens kicked him out, both his booking agent and the head of his label called and said, "You should do The Dear Hunter for real, and we want in."

Ten EPs, three albums, five home bases and about a hundred band members later, The Dear Hunter has allowed Casey Crescenzo to realize his musical vision. From the beginning, it was a high-concept project: Casey mapped out multi-page treatments for a six-album story arc set at the dawn of the 20th century about the birth, life, and abrupt death of a boy, known only in the story as "The Dear Hunter." Within a year he'd released the full-length albums "Act I: The Lake South, The River North" and "Act II: The Meaning of, and All Things Regarding Ms. Leading." The third installment, "Act III: Life and Death," came two years later. Then, in 2010 and 2011, he took a break from the Acts to record "The Color Spectrum," a series of nine EPs, each named for a color of the rainbow (along with black and white) and featuring songs intended as musical interpretations of that color. The stylistic range on "The Color Spectrum" was expansive, from the intricate prog-metal pathos of "This Body" to the majestic, uplifting pop of "Home." Casey played a special show at Boston's Somerville Theatre at which he performed all 36 songs from "The Color Spectrum" live, with full band and string section; a DVD of this one-time event will be released on March 12, 2013.

And now, another sharp turn from The Dear Hunter: "Migrant," out April 2, 2013 on Equal Vision Records. This time, there's no overarching concept to enforce, no elaborate fictions to weave -- just 12 beautiful, honest, patient songs, and certainly Casey Crescenzo's most broadly accessible music ever. And it's staggering to think that this is the same guy whose voice was once deemed "too mellow," as Casey ranges from intimate murmur to smoky falsetto to urgent wail, coloring the songs from out in front. It's obvious from the exhilarating gallop of the first single, "Whisper," and the dusky keys and strings of "Shame" (inspired by the canon of James Bond movie theme songs), that The Dear Hunter has entered another new phase, dealing with universal ideas, sounds, and experiences. It's been a long, hard road to get here, but Casey Crescenzo finally feels at home.
Northern Faces - (Set time: 8:15 PM)
Northern Faces
“It feels great to sign to Equal Vision Records,” explains Northern Faces’ Bryan Shortell. “We’ve been working hard for a very long time, and there’s a huge feeling of validation when you sign to a label as awesome as EVR. Knowing that there is a team of people that believe in our music enough to invest their blood, sweat and tears into forwarding our career is humbling and something we’ll never take for granted.”

He continues, “After we finished tracking the songs for our EP, we sent over some rough mixes, and turns out, everybody was really excited about them. One thing led to another, and after a few meetings with everyone, it was obvious that EVR was the perfect home for Northern Faces. Not only is the whole team incredible, but they’ve released countless records we grew up listening to and have signed some of our favorite bands (Portugal. The Man, The Snake The Cross The Crown, etc.)”

The band features Shortell and Marco Testa on vocals and guitars, Matt Ippolito on bass, and Mike Ryan on drums. The band solidified their lineup in early 2012 after heading to an isolated cabin in Vermont to begin writing their debut effort. Free of technology and other daily distractions there, the band wrote the six songs that now comprises their impressive new album, Southern Places. The EP will be out digitally on Equal Vision Records on March 5 and available on CD at shows and through

“The only thing we want people to take away from our music is a feeling. It doesn’t matter what it is. The best music makes you actually feel something. It can be any shade of color on the emotional spectrum, but that’s what makes a good song,” elaborates Shortell. “If someone can listen to our record or see us live and be affected by it in some way, then in my book, we’re doing something right.”

Northern Faces’ debut show was an opening slot for The Kooks and Royal Teeth in early 2012. To date, Northern Faces has shared stages with the likes of Electric Guest, Civil Twilight, Futurebirds, and Heartless Bastards.

“Our live shows are our pride and joy,” the band reveals. “We take a lot of pride in trying to put on a show that leaves a lasting impression on the audience. We’ll be incorporating some new instruments into our live show that we’ve never used before, and we’re working on some really cool alternate versions of songs to play live. It’s our natural habitat. The stage really is our home.”
Naive Thieves - (Set time: 7:30 PM)
Naive Thieves
"Performing is the most rewarding and exciting thing we can do," shares Naive Thieves . "When we are on stage, we are living in the moment and sharing in something we hope will last longer than our set time - if anything we hope that while we are on stage, people can let go and enjoy themselves as much as we are."

Naive Thieves will have the chance to do just that while on their full US run with From Indian Lakes, which will include a stop in Austin, TX for SXSW, where the indie quartet will perform as an Official Artist. To date, Naive Thieves has shared stages with the likes of The Dear Hunter, Kay Kay and His Weathered Underground, O' Brother and more.

The Riverside, CA-based outfit will release their debut full-length album, Vámonos, on April 29 through Cave & Canary Goods, an Equal Vision Records’ imprint founded by The Dear Hunter’s Casey Crescenzo. The album was recorded in the Greater Los Angeles Area, with Crescenzo serving as producer.

On their new ten-track album, vocalist Cameron Thorne’s smooth vocals weave over intriguing instrumentations, creating a shining vintage 50s/60s pop sound. The band's incorporation of a wide variety of unique instruments - including upright, baby grand, and tac-pianos, a lap steel, an omnichord and alto and tenor saxophones - further contributes to the impressive sonic depth and warmth of the band's sound, while perfectly placed piano and guitar melodies add crisp, classy tones to their haunting musical ambience.

The album's title, Vámonos, alludes to the three year gap between the release of their debut, self-released EP, Le Sheik Rhat, and reflects on the sense of hopeless frustration felt when one reaches a point of stagnation in productivity and growth. The album represents breaking through that ceiling of creative limitations and restraints, and references a more optimistic point of a view in finally moving forward. Thorne shares, "We wanted the record to be something like a call to action for ourselves, or a mile marker for our progress. " Vámonos " - or "Let's go!" - is essentially our departure from that time."

The band's first song released from the album - “Anxiété” - is available now as a free download on Soundcloud and Bandcamp.

Naive Thieves is comprised of Cameron Thorne (vocals, guitar), Levi Audette (lead guitar), Kyle Garcia (bass, backing vocals), and Ian Maloney (drums, backing vocals).
Venue Information:
9081 Santa Monica Blvd
Los Angeles, CA, 90069

All lineups and times subject to change