Laughing City
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wilsmith
Vintage Newbie


No, but Stacy and Chauntelle have and are moving to Nashville and concentrating on their lives off the road. So they are being parents and doing their separate music projects.

Weston isn't touring, but it sounds like he'll be involved in the recording. So one way to look at it is that the next Eisley album will be recorded primarily by the core 3 piece of Sherri, Garron, and Weston in Tyler, with contributions from whoever. Sherri will be writing the songs and handling the vocals. So they're a power trio in the studio???

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PoorMe
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^okay, thanks for that info.

IMO, if Stacy ain't writing or singing, it ain't Eisley. Same for Chauntelle's guitar playing. Those ingredients are critical to the Eisley I know and love. So yeah, for my purposes, I guess Eisley is on hiatus for the foreseeable future.
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wilsmith
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I can understand that. At this point Sherri's displayed her ability to evoke her inspirations musically, so i have every confidence, if it's her prerogative, she'll be able to evoke the Eisley sound and the spirit of Stacy & Chauntelle's contributions, and can always call them and ask for their input, or to be featured on a track. It may not happen, but the precedent for outside contributions has been in place since the Valley. Being out of the band on paper doesn't disallow them from being collaborators in some capacity. I hope that's how it plays out, like Broken Social Scene Presents.
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Last edited by wilsmith on Fri Nov 13, 2015 3:48 am; edited 1 time in total
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keithabbott
Sea Post King


Anyone been able to locate any videos from the tour yet?

I skipped the gig in Baltimore gig mainly based on the clips posted from that gig earlier this summer. I'm hoping some will appear online at some point. I'm just hoping I'll see and hear one that changes my mind. But as it stands now, I'm not going to go too far out of my way to see this version of the band.

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bigideas
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PoorMe wrote:
^okay, thanks for that info.

IMO, if Stacy ain't writing or singing, it ain't Eisley. Same for Chauntelle's guitar playing. Those ingredients are critical to the Eisley I know and love. So yeah, for my purposes, I guess Eisley is on hiatus for the foreseeable future.


Have you checked out Chauntelle's Rising Fawn project?

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inorbit
Laughing Citizen


oh ffs, honestly.


we all know, of course,that because these guys have made a lot of music that most of us enjoyed and some of us got somewhat "invested" in in some way or another, they owe us, for the rest of their lives, or at least while not physically incapacitated, to be enslaved to do our bidding, and above all, to NEVER move from or grow beyond what they were doing when they were 14. In fact, because the whole lifestyle thing is so important with Eisley, it makes good sense that none of them should ever, ever live anywhere but the midsized town of their childhood in the woods of East Texas (because we think its cool and quaint and stuff, and thinking about it provides us with escapist benefit). Actually, I think its entirely reasonable for them to be required to share a bedroom until I'm at least 65 (I peg this off of my age, not theirs, as I'm obviously whats important here).

They should know that their role is to provide us with a sense of stability while we grow and pursue our goals, moving through changes seeking OUR betterment, and should know better than to delusionally succomb to silly aspirations to do any of these things for themselves.

It stands to reason that anything they do that transgresses this expectation should be reviled and met with hatred, as it constitutes a default on what they owe us for having liked their music and for making posts on their bb more often at some point in the past.

And don't give me any of this nonsense that attributes misplaced importance to some perceived need on their part at some point in their lives to make a living, support a healthy family life or allow their spouses to have viable careers. Its obvious that thats just a bunch of self-seeking greed, and completely inappropriate given that it works best for us when they are cool and indie and stuff and tour in a crappy van (especially if they have to sleep in it), only ever shop at thrift stores, and are reduced to seeking alms from their fans if they or their families should ever need healthcare as they progress into middle age, because then we can feel cooler and all underground and stuff for liking them. Anyway, boxed mac&cheese is $0.25 at wallmart, so what else could they possibly need (beyond our attention, guidance, and studied critiques)? If they really cared about us they would all have just married more established rock stars like Sherri did who can work from Tyler for the rest of their lives and bankroll Eisley's work for us (because, goodness knows, its own fans can't possibly be expected to support it in a tangible manner, as we're entitled to consume our art mostly for free on the internet, rather than pollute that pure joy artists receive for working to provide us with the things we value uncontaminated by remuneration, which only grows deeper and purer as the years of unrewarded service go by).

Most of all, the idea that Eisley would evolve structurally or ontologically in ways that violate our sense of stasis, just because it works for them is reprehensively self centered. It must stay exactly the same (and no, I don't care whether the band as it is is something any of them could actually make a living at at this point, or even afford to keep doing- they owe it to us to find a way, no matter the sacrifice, regardless of whether or not we ever supported it sufficiently to make it viable on a sustained basis) because we want it. After all, what did they ever do for the band. It belongs to US!

I think the only hope for their redemption is for us to get the word out for everyone to come and post as much hate, condemnation and vitriol here on their forum as possible, so that they see the error of their ways and do the right thing for us. They have probably become so self centered, though, that even this mightn't bring them to repentance and reform.

How dare they. They are all horrid people. I'm done. Anything they ever do again is prima facie worthless, because this isn't MY Eisley any more.
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Last edited by inorbit on Fri Nov 13, 2015 5:44 am; edited 19 times in total
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wilsmith
Vintage Newbie


inorbit wrote:
oh ffs, honestly. ...because this isn't MY Eisley anymore.


Laughing -> https://www.youtube.com/watch?v=4kr24G8jQpM

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tahruh
Vintage Newbie


People change and grow and continue that process until they die. That reality makes it difficult to speak in absolutes.

Where Eisley is right now, and where I am right nowÖ Well, my initial reaction (and Inorbitís, too -- not to sell you out, dearÖ) was that the latest incarnation of the band is something, and perfectly valid in its own right, but it isnít Eisley ó and personally, I maintain that opinion. Stacy and Chauntelle were too integral to the structure of what Ďmadeí Eisley to be so easily replaced. Perhaps if just one had departed? I understand why the decision to continue with the brand was made to some degree, but itís a bit disappointing, personally; they could have ended it (or put it on the shelf for a time) on what I consider a high note, anyway. The last album and tour were really great! It feels a bit dishonest, I guess? With Sherri taking much more control, the image has shifted to the point where we have devil horns in place of a band avatar now ó the Say Anything co-optation is complete! Rolling Eyes Razz Iím not willing to write them off from the outset though; just to say, from here, it doesnít look very appealing. I am not eager to catch shows on this tour, or hear new material. I'll tag along with Inorbit if he really wants to go.

That said, I find some of the decisions Stacy has made artistically recently to be less appealing, too. It seems like her artistic focus these days is sort of a throwback to Ye-ye, which is fun--and fashion is fun--but to me itís always seemed like an avenue for people who lack artistic depth, and honestly, real talent. Things we know to be very untrue of Stacy. I found it interesting she seems to consider herself a blogger first and foremost these days, and a bit sad (not in a judge-y way, but in a genuine way). And it was also sad to hear she seems so much less fond of performing, knowing that it has as much to do with anxiety as the changing family situation, when the last few times Iíve seen Sucre I was genuinely blown away -- equally by her talent and transformation. It seemed like she finally came into herself, but is closing up again. I hope she doesnít lose confidence in the depths of who she is. Itís always tempting to present oneself as superficially as possible, but it will always be at the expense of genuine connection.

None of this is a very big deal to me, though. They have all had some great songs over the years, and provided some very memorable concert experiences. In the vein of what Jamie said, that can't be taken away, or changed. I remain grateful to the band, considering all that it's given me; and while I have my own opinions about art, etc., I am happy for them if they're happy!

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wilsmith
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So... What happens if an album is released and it sounds like the Eisley many of us have known and loved over the years, with Christie lending vocals in place of one or both of her sisters?
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bigideas
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What if the next album was huge?
Do they always just split the songwriting equally between whomever records the album, or did the person who wrote the bulk of the song get a larger credit?

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wilsmith
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To my recollection the writing credits went to the band up until The Valley, and then on Currents they went back to the full band again. Rights go to the authors. Distribution of any royalties are then determined by the contractual arrangement between the the authors, management, and their label. The easiest way to figure out who gets rights in an album liner is to see how many different publishing companies are listed. Some bands list those credits song per song, others list it all at the end of the album. Some opt to not list it at all. The publishing companies are the legal representation of their rights as songwriters and composers.

If band members are not included in the publishing, then they are not paid beyond whatever compensation they received for their recorded performances initially. For a session musician that's an immediate payday, but for band members a person may not be paid up front, as they are "part of the band" and expected to participate, with their payoff coming from touring or merchandise sales, if they have allotted a percentage of that revenue. Touring/ Live performance is the lifeblood of the life of a professional musician who is not a to draw a sizable income from music sales or licensing. Otherwise being a professional musician requires maintaining another stream of income to support yourself.

The idea that a record label advances artists millions of dollars, as if it's a giveaway/ payoff is a distortion of the reality. An Advance is a loan towards the production, distribution, and promotional costs (inclusive of touring) of a release. All those costs are Recoupable and must be paid back from future earnings if the release does not meet sales expectations. The music business remains "Pay to Play" in the mass marketplace.

All that is to say, crediting the songwriting to the entire band is a way to not leave any member who contributed in some fashion out in the cold. Now, behind the scenes there may be internal arrangements within bands that dictate income distribution and priorities, but in terms of their dealings with their label, ASCAP and the RIAA, they have taken care of all parties involved.

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bigideas
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I took a copyright class in college. I was just asking about Eisley specifically.
I think Radiohead splits it 50 to Thom usually, or whoever wrote the bulk of the song, and then the other 50 split equally between the band.
I couldn't remember what Eisley did.
I don't think they have anything like the Lennon/McCartney thing where one gets something even if they have zero to do with the song.
Eisley may have the option to change it with every record.
The Eisley/Say Anthing 7" - I think that is purely Sherri, right, so that would show for that song anyway. Never bought the single to check.

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wilsmith
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I figured you knew, but for the benefit of anyone reading the thread who didn't I figure it was worth explaining, given part of this discussion about the band's status has to do with making livelihoods for themselves.

I never heard or read anything about how they handle money, but given it's a family, they started when they were minors, and were ultimately managed by family members, I'm assuming equity was job one. Family first, business second. I'm sure that evolved as the they all grew up and roles changed.

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keithabbott
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This might end up being my last post here. I'm thinking it's my time to move on as well. As much as I want to like the new incarnation, it's just not resonating. I'm a parent with a 7 and 2 year old myself, so I can respect their decisions to do what's In their families best interests. But as a fan of their music, I have to like the musical direction they are going in both as a group or as solo artists and I'm just not feeling it. Eisley, the group, is what lured me in. And that group is now gone. I want to hold onto hope but I'm feeling like its best to just let go at this point as I've done time and time again in the past with other bands. This one is going to sting a bit more since I feel such a personal connection even if it's more an imaginary connection than one based on reality. I do wish them the very best at whatever life brings them. Hanging onto hope that they all will perform and record together again may be fleeting, but not out of the realm of possibility. I hope that day will come again...
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wilsmith
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keithabbott wrote:
This might end up being my last post here. I'm thinking it's my time to move on as well. As much as I want to like the new incarnation, it's just not resonating...

...I do wish them the very best at whatever life brings them. Hanging onto hope that they all will perform and record together again may be fleeting, but not out of the realm of possibility. I hope that day will come again...


I know exactly what you mean, as I have gone from following a band to being comfortable saying "I'm not really a fan, I did like xyz albums though" many times.

I would figure an inability to say anything positive would be a fair reason to ditch the forum. That hasn't stopped some people from posting. Laughing

But as a fellow music lover, unless you checked out on Eisley musically a few releases ago, I would say wait for the new material to see the light of day and see what you think of it then. It may night be Eisley as it was, but it may be something you like. The live incarnation of the band for this tour and any tour not supporting a new release is only in existence to service the fanbase for the old material. That's their repertoire. The next album will hopefully establish a band identity with Sherri, Garron and Weston as the nucleus. That will be Eisley in a truer sense compared to the older material. The live presentation of that new material, and their approach to building sets with it included, will speak to the direction of the band more than this tour does.

So I encourage you to check back in around mid-summer. Smile

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