Media Review

The Receiving End Of Sirens

The Earth Sings Mi Fa Mi (CD)

Triple Crown
website | mySpace | pureVolume

Overall Rating:

6.5

Music Quality: 6.0

Production: 5.0

Originality: 7.0

It took me awhile, but eventually I found I loved The Receiving End Of Sirens. At first, I thought it was derivative and typical, but eventually I realized that their unified, thematic debut “Between The Heart And The Synapse” is electrifying, filled with supercharged catchiness and punchy guitars. It’s nothing short of a masterpiece; from the infectious vocals and driven guitar leads to the huge production courtesy of soon-to-be widely recognized Matt Squire to the syncopated, clever electronic interludes and finally to the combating vocals of the (former) three singers, it’s entirely enjoyable from start to finish.

So what happens now?

Let’s start at the beginning, well, the new beginning after songwriter, singer/guitarist, and knob turner Casey Crescenzo left to focus on his epic project The Dear Hunter. An exciting, creative website was launched in anticipation of the album, filled with odd, intergalactic imagery (as could be expected from the clever thinkers in TREOS). Clips from a few songs were posted and it sounded like the intergalactic, spacey rock TREOS identify themselves with was going to persist.

Eventually, the CD found its way into my mailbox, and immediately I could sense a lack of energy. Maybe Crescenzo added more than another voice and some constructive notions—or maybe the band had tired of playing the driving, heavy rock songs they created on their debut.

Sure, the CD kicks off with a pulsating, toe-tapping soft intro. But, it also sounds like a 5 minute long crescendo that eventually leads into a pretty memorable guitar lick and vocal hook—but it’s not loud enough, really. And when track 2, Oubliette, kicks in, the off-beat rhythms and driving guitars are clearly reminiscent of TREOS’ earlier work. Something is clearly missing though, and while the dueling vocalists contribute a certain sense of familiar harmony, the battling between them sounds almost forced. On “Between The Heart…” what made the album so incredible was the almost seamless vocal transitions between the three singers. It sounded almost like one singer throughout. But on this record, the vocals are almost insanely cut and dry—it’s clear that two separate entities exist.

Either way, vocally, the record is pretty spot on otherwise. Memorable vocal hooks and catchy melodies, as one might expect, are all present. What’s lacking here is the breakdowns—and the production as well as the songwriting can be blamed. Maybe I’m too die hard a fan of the band’s old style to accept this new one, but I think either way most of the songs are a bit too mellow for my taste. I think what I loved about TREOS wasn’t necessarily the tranquility found in the interludes, but it was the consistent energy throughout all of the songs—an energy that beckoned a response. Instead, this album has few moments where such an energy is present, aside from a couple stellar moments (namely, “The Crop And The Pest” and “Smoke And Mirrors”). Songs like “The Salesman…” tend to drone on for too long and the story told isn’t enticing enough to keep my attention. And while there are clever guitar hooks and electronics (see “A Realization Of The Ear,” filled with synths and electronic drum syncopation) it’s just a bit too much for me.

A lot of this can be blamed on the production, which is strange considering (one of my favorite producers) Matt Squire produced the album again. For a clear example, see the sloppy “Saturnus,” filled with raspy, forced vocals and confusing guitar riffs. The drums sound packed tight in the mix, and the complex nature of the guitar leads overwhelm the driving rhythm set by the backing guitars. Look no further than “Wanderers” for another track in the vein of “The Salesman…”—I think by this time I was just growing tired of the slower, atmospheric nature of the songs on this record.

Where songs from the band’s debut like “The Rival Cycle” or “Dead Men Tell No Tales,” not to mention the single “Planning A Prison Break” all contained compelling energy and raging vocal dynamics, the songs on “The Earth Sings Mi Fa Mi” tend to all blend together into two similar groups—bland, repetitive soft and atmospheric songs and confused, forgettable rock songs. It was hard to pick a favorite track on the band’s debut; any number of songs from “Planning…” to “This Armistice” were single-ready.

It honestly breaks my heart to know I’ve come to the conclusion that I no longer am into the TREOS post-Crescenzo lineup. I think it might be almost too honest—but honest nonetheless—to say that without Crescenzo, the band clearly lacks the fine touch and creative, eloquent vocal dynamics. Or, maybe the band just put out their best foot first and are on a dry spell on this sophomore effort.

In any case, TREOS contain talented members. Their singers are generally both spot-on in a live setting, and in the same way they know how to play their guitar and bass well. I’m excited to hear what the third effort will sound like, and will never stop seeing the band live—Crescenzo apart or not.

reviewed by Andrew Martin