First impressions are always important, even if they end up being wrong more than half the time. The Venetia Fair not only made an interesting first impression, but they are able to improve that impression as song after song goes by.
The first noticeable thing about The Venetia Fair is the chaos that seems to be the main theme of their new EP The Pits. Every song has a touch of dizziness, or organized pandemonium, that brings to mind the image of a dark circus. For fans of the dramatic vocals from My Chemical Romance, and the eeriness of Panic! at the Disco meets Ludo (“Love Me Dead”), The Pits is definitely the place to be.
From the first track the album is an adventure. “Some Sort of Siren” is very much a song that could be in an orchestrated play, due to the theatrics. The beginning bass/drum combination carries you through the entire song on dark, angry tones. Then comes the vocals, grain-filled and emotional – just a start of what will ensue for the remaining four songs.
While the first song was led mostly by the stringed instruments, the second song takes a different turn with a different instrument: the piano. This is another promising exhibition of a band that knows what they are doing, because instead of the piano sounding like it was made from Garageband, or keyed in through the computer, the tones are genuine and the pieces take actual talent to play. But, what is talent without the right placement? Wasted.
Fortunately for The Venetia Fair, their placement is quintessential. It is apparent that each member of this band is talented in equal ways, but this is not unheard of from the billions of bands in existence. The thing that sets them apart from the others is their knowledge of what is considered “too much.”
It is possible for a band to have talent, but then use it at inconvenient or unnecessary times, causing it to sound like a mess. On The Pits, each member gets their turn to express their talent. There are songs where the piano takes charge (“I’m Still Amazed”), then there are songs where guitar is the center of attention (“A Lady and A Tramp”), and so on. Having said that, in their previous album The Circus, the drums seemed to be the center, opening each song with technical and engrossing rhythms – but in The Pits, you are not able to hear as much drum handiwork, not that that means they are any less complex or key to their sound.
And about the actual frontman: the vocals give the band an added character. Benny Santoro acts as the cherry on top of an already good thing. With his ridiculous way of singing, it is hard to not stay tuned in. They seem to have taken the whole “circus” theme and carried it on to The Pits, which is more than okay, seeing as it works for them and they do it flawlessly.