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 Post subject: Posted: Mon Feb 28, 2011 5:30 pm 
I like Eisley as it is. While I'm excited for solo stuff, I honestly am more excited about the Valley getting its due because it's brilliant and we've waited years to hear/support it. It's also a cohesive piece of work that two songwriters were able to weave together through their different styles. It's a blessing that Eisley has two very strong writers (one more literal, the other more abstract) because it yields so much more in terms of sound, direction, and lyrical content. I am one of the people who doesn't feel a disconnect between a Sherri song and a Stacy one. They flow for me... and pretty damn well. So I'm thrown by this fringe opinion, to be honest, because this is a high point in Eisley's career. _________________ "I cannot discuss your verses; for any attempt at criticism would be foreign to me. Nothing touches a work of art so little as words of criticism." -- Rainer Maria Rilke |
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Joined: 19 Nov 2005 | Posts: 1045 | Location: Mansfield and Austin
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Post subject: Posted: Mon Feb 28, 2011 5:36 pm
Haha, I had to come back for one more point: Eisley has ALWAYS had variety if you think about it. I agree, it's more distinctive here, but consider: Golly Sandra and Head Against the Sky Marvelous Things, Vintage People, and Sun Feet (written by the same person) Like the Actors and Ten Cent Blues (same person) Again, that's the why I never found them boring. From the beginning always throwing something new, while still remaining true to themselves. Even if it took more than one listen, I like all of the songs I listed above, which is a credit to them for having music that can last. |
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Joined: 03 Mar 2006 | Posts: 1522 |
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Post subject: Posted: Mon Feb 28, 2011 5:38 pm
Mystic210 wrote: Haha, I had to come back for one more point:
Eisley has ALWAYS had variety if you think about it. I agree, it's more distinctive here, but consider: Golly Sandra and Head Against the Sky Marvelous Things, Vintage People, and Sun Feet (written by the same person) Like the Actors and Ten Cent Blues (same person) Again, that's the why I never found them boring. From the beginning always throwing something new, while still remaining true to themselves. Even if it took more than one listen, I like all of the songs I listed above, which is a credit to them for having music that can last. You're dead right... HATS to JLWD. OTM to Laughing City. Gorgeous. Same quality of atmosphere channeled through very different vehicles- contrasting but complementing. I think maybe some people maybe have a bit of a selective memory, or listened selectively in the first place, because they wanted the mono-style they liked to be the "real" Eisley. And revision is more easily applied to the past than the present. But thats not the reality of things, is it. The folks who seem to remember classic Eisley as all sounding like Sea King and Brightly Wound blocked out a lot, I think. |
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Joined: 06 Jan 2008 | Posts: 1759 | Location: Dallas
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Post subject: Posted: Mon Feb 28, 2011 6:04 pm
I hate how the Beatles don't stick to one consistent sound. Lennon and McCartney might as well go solo. _________________ Kulvir. |
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Joined: 10 Mar 2005 | Posts: 1844 | Location: Vancouver, BC
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Post subject: Posted: Mon Feb 28, 2011 6:16 pm
kulvir wrote: I hate how the Beatles don't stick to one consistent sound. Lennon and McCartney might as well go solo. Thank you for being the person to finally post a Beatles comment that's actually applicable to the situation, and doesn't involve gratuitous Yoko-bashing.  _________________ INTELLECT AND ROMANCE OVER BRUTE FORCE AND CYNICISM Smokemonster |
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Joined: 24 Sep 2003 | Posts: 14510 | Location: Alone on an airplane, fallin' asleep against the windowpane...
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Post subject: Posted: Mon Feb 28, 2011 6:17 pm
Bemis = Yoko |
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Joined: 12 Jun 2005 | Posts: 20735 |
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Post subject: Posted: Mon Feb 28, 2011 6:18 pm
DAMMIT NORA.  _________________ INTELLECT AND ROMANCE OVER BRUTE FORCE AND CYNICISM Smokemonster |
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Joined: 24 Sep 2003 | Posts: 14510 | Location: Alone on an airplane, fallin' asleep against the windowpane...
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Post subject: Posted: Mon Feb 28, 2011 7:52 pm
I read into it as not about he or she being against a variety of sounds, but about whether that variety is complimentary. Obviously, one's tastes are going to dictate that. And it's not really surprising most people on the band's message board (that the band apparently still reads) react to said juxtaposition positively. (I'll be more interested to see how it's perceived elsewhere. Besides this, I've only seen that Evanescence comparison that I'm still shaking my hair cape at). I think throughout the band's history there has always been times where it worked well, and others where it didn't work as well. But I do think now, PeRsOnAlLy, that there are times where it's not working at all. But again--I'm talking about for me. I think the deal was that these were two sisters, some years apart, but living under the same roof (in the same room even, I think) and mostly hanging out with each other, and mostly influenced by the same things. Of course, they always appeared to be two very different people (Stacy, always mature for her age and Sherri, more childlike), but I think the nurture really preceded nature in their cases. Sherri, being the older one, naturally started dating first, and subsequently was exposed to 'new worlds'. She's been heavily influenced by each of her relationships, both personally, and musically. Perhaps the same can be said for Stacy this go, but I've only listened to Mute Math once and I have no idea what Darren's part or 'brand' is beyond Cool-looking Drummer. But anyway, back to the point: they have different, totally separate lives now. Sherri seemed to become a mall punk during her time with Chad, and now I'm not really sure what she is (entry-level Harajuku Grrrl?  ), but I'm sure she's probably taken some sort of interest in Max's. Max is like, a die-hard Saves The Day fan. His own music has contained and maintains a pop-punk edge. I guess for me, it makes sense Max is paying homage to something that shaped his youth, but didn't Sherri grow up on Radiohead? As much as I play Through Being Cool and reminisce the $#@! out of it, it's probably not something I'd pick up today and have my mind blown by. I'd bop along, sure, but much of it would hold no meaning--all the meaning it does hold is the product of 10 year old memories (plus, Saves The Day matured well beyond that sound). I mean, at 23, it's just not a style I want to listen to, so it's hard for me to understand someone even older than I am being inspired by something I craved, not to mention related to, in my tween years. It just feels like regression at times. And, frankly, kind of phony.
Now I Wish--that's some next level $#@!. I wasn't convinced at first, but I really think her and Sherri's back-and-forth enriched the song significantly. I forget which line it is, at the moment, but it's one of Sherri's and it just sounds great (and void of that 2001 pop-punk sound as it's being called now [though I still prefer my more succinct 'AP' coinage ]. I still like some of those other songs, though, and the album is mostly great despite the occasionally strange juxtaposition. I, again, PeRsOnALlY, think they should give their all to their side projects in their downtime (sometime in the future, when this album's hype dies down), because I think it would be great for them, and for us (especially the people who love both equally), but I don't think it's time to call it quits. I was honestly surprised by this album. It's the first time I can say that, as a whole, it's surpassed their early work that I hold so dear. Plus, I'd be scared Chauntelle would retreat from music... Girl needs to sing more, by the way.
Also, I have a Joe Strummer avatar, for Christ's sake, so it's not about homogeneous desires. It's just that immature 2001 era Pop-punk and mature Singer/Songwriter don't do for me what Punk and Reggae does, or what Punk and Synth (Suicide, Screamers) does, or whatever it is the Jonas Brothers do. I was going to say it's kind of like Nu-metal until I realized I'd just be fronting. Still the greatest song of the last decade: http://www.youtube.com/watch?v=CSvFpBOe8eY |
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Joined: 04 May 2007 | Posts: 3862 |
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Post subject: Posted: Mon Feb 28, 2011 8:46 pm
I'm not catching on to the pop punk stuff everyone is talking about. I guess you mean Sad and Smarter? I had heard those more (and perhaps not more flatteringly) as channeling the faux/retread new wave a la strokes (and dare I say it- the Killers- I'll wash my mouth out with soap now) that has been worn so tired by now. But for maybe that one guitar riff in Smarter, which is a bit max-like, but not as much as it was in earlier versions. Granted those aren't my two favorite tracks on the album, taken alone, but the do break up the texture a bit and add variation. In context I think they work. I'm definitely not hearing any pop punk in Better Love or Mr. Moon. It is stuff other than trendy Acoustic-ukulele-banjo-stings singer-songwriter anemic warbling and therefore offends the hipster music fashion police's sense of order and konformity, I suppose, but pop punk it isn't. Eisley have always had a certain amount of that heavy, guitar-ridden dream-pop/shoegaze sound on a certain number of their songs, but now somehow anything involving guitars with amplifiers is derided as "90's guitar- pop- punk" or some other revisionist crap story. Not everybody has to try to be Joan Baez at the same time you know... there is room for more than one kind of music in the world at a given point. The faux-metal excursion was Many Funerals - I'm not hearing much of anything like that here (thankfully)- but even the current live rendition of that had less articulated guitars than the original Lincoln Parkerized version. |
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Joined: 06 Jan 2008 | Posts: 1759 | Location: Dallas
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Post subject: Posted: Mon Feb 28, 2011 9:01 pm
inorbit wrote: I'm not catching on to the pop punk stuff everyone is talking about. I guess you mean Sad and Smarter? I had heard those more (and perhaps not more flatteringly) as channeling the faux/retread new wave a la strokes (and dare I say it- the Killers- I'll wash my mouth out with soap now) that has been worn so tired by now. But for maybe that one guitar riff in Smarter, which is a bit max-like, but not as much as it was in earlier versions. Granted those aren't my two favorite tracks on the album, taken alone, but the do break up the texture a bit and add variation. In context I think they work.
I'm definitely not hearing any pop punk in Better Love or Mr. Moon. It is stuff other than trendy Acoustic-ukulele-banjo-stings singer-songwriter anemic warbling and therefore offends the hipster music fashion police's sense of order and konformity, I suppose, but pop punk it isn't. Eisley have always had a certain amount of that heavy, guitar-ridden dream-pop/shoegaze sound on a certain number of their songs, but now somehow anything involving guitars with amplifiers is derided as "90's guitar- pop- punk" or some other revisionist crap story. Not everybody has to try to be Joan Baez at the same time you know... there is room for more than one kind of music in the world at a given point. The faux-metal excursion was Many Funerals - I'm not hearing much of anything like that here (thankfully)- but even the current live rendition of that had less articulated guitars than the original Lincoln Parkerized version. Never mentioned the 90s, unless you're referring to another thread where I likened I Wish's vibe to said decade. 2001 was not 90s' pop-punk. "There is room for more than one kind of music in the world at a given point." Oh, cool. And I wasn't comparing anything they did to metal...but rather how nu-metal doesn't work (being comprised of two [or more] juxtaposing, "uncomplimentary" sounds (but not really, as made evident by my love for Chop Suey!). |
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Joined: 04 May 2007 | Posts: 3862 |
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Post subject: Posted: Mon Feb 28, 2011 9:10 pm
Just realized I mentioned Through Being Cool, which came out in 99, I think. But I only really used that as an example because I know Max is into them. And not as literally as you're taking it. Inspiration doesn't necessarily translate to replication. |
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Joined: 04 May 2007 | Posts: 3862 |
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Post subject: Posted: Mon Feb 28, 2011 9:27 pm
tahruh wrote: In Mr. Moon, I'm hearing a throwback to Sea King (which I loved) with an unfortunate 10th gen emo twist. Which is why I ultimately do not like the song.
Never mentioned the 90s, unless you're referring to another thread where I likened I Wish's vibe to said decade. 2001 was not 90s' pop-punk. 'm not getting an emo anything in that. Different reference points I suppose. Anything beyond second wave emo became completely amorphous and indistinct from lots of other stuff, and I never cared much for any of it anyway. But emo was hardcore-derived... and DID develop a pop-punk core (reference my contention in an earlier thread that emo as a distinct, differentiable musical entity doesn't actually exist and never has, which is why I've never cared about it). The later stuff is just retreads of other earlier genres. They are only emo in as much as they claim to be. Its musically, as far as I can tell, a completely meaningless word. What you read as emo in Mr. Moon, I pick up more as Cocteau Twins/Cure/MBV/etc. What I hear most in Mr. Moon, though, is Floyd and Bowie. There's not a punk-derived bone in it, and so, in as much as the word ever had meaning, no emo. If anything, its proggy. And other people have been deriding the non-singer-songwriterly tracks as "90's" (presumably because it involves guitars that plug in, and a rhythm section and stuff). |
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Joined: 06 Jan 2008 | Posts: 1759 | Location: Dallas
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Post subject: Posted: Mon Feb 28, 2011 9:35 pm
inorbit wrote: tahruh wrote: In Mr. Moon, I'm hearing a throwback to Sea King (which I loved) with an unfortunate 10th gen emo twist. Which is why I ultimately do not like the song.
Never mentioned the 90s, unless you're referring to another thread where I likened I Wish's vibe to said decade. 2001 was not 90s' pop-punk. 'm not getting an emo anything in that. Different reference points I suppose. Anything beyond second wave emo became completely amorphous and indistinct from lots of other stuff, and I never cared much for any of it anyway. But emo was hardcore-derived... and DID develop a pop-punk core (reference my contention in an earlier thread that emo as a distinct, differentiable musical entity doesn't actually exist and never has, which is why I've never cared about it). The later stuff is just retreads of other earlier genres. They are only emo in as much as they claim to be. Its musically, as far as I can tell, a completely meaningless word. What you read as emo, I pick up as Cocteau Twins/Cure/MBV/etc. What I hear most in Mr. Moon, though, is Floyd and Bowie. There's not a punk-derived bone in it, and so, in as much as the word ever had meaning, no emo. If anything, its proggy. And other people have been deriding the singer-songwriterly tracks as "90's" (presumably because it involves guitars that plug in, and a rhythm section and stuff).  When I think of Emo, I actually think of Fugazi. But in this case, I'm talking about what a lot of those pop-punk bands evolved into. Sappy, poorly written nonsense probably involving 3 chords. Started around 2001 and continues on today (in a truly horrific state, naturally). So I'd say hers is a throwback to the early stuff--not horrible, just not something I want to listen to at this point in my life.
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Joined: 04 May 2007 | Posts: 3862 |
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Post subject: Posted: Mon Feb 28, 2011 10:30 pm
norad wrote: I think if it was just Sherri or just Stacy it would be too much of the same. I love the different styles the two bring to Eisley. It makes for a unique sound. This. I feel that if this was just Sherri's album it would have been...depressing a little? Or maybe super angry as you can tell from some of her own tracks. I love Sherri and Stacy apart but I love them more together. I've always been a hardcore supporter of Stacy but the songs I think I'll be turning to if my relationship ever goes sour is to Sherri's ones as I find them more relatable to some extent; more realistic. It would be a sad day if the girls split, there would be a noticable gap in the band if either Sherri or Stacy left (vocally at least) and it wouldn't be the same Eisley. I'm happy if both do their own thing as long as they come back to Eisley as there will always be something so magical about the band that I can't get anywhere else. |
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Joined: 02 Aug 2005 | Posts: 1086 | Location: Essex, England
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Post subject: Posted: Mon Feb 28, 2011 11:55 pm
i remember my first visit to the DuPree household (gosh i sound like i'm name-dropping there), I was chatting with Boyd and all of a sudden this sound comes from upstairs--it was a lot like Bjork and Portishead, very trip-hoppy and somewhat seductive. it only lasted less than a minute. then came this very pretty little melody, using the same basic notes as the previous piece. then, it was back to the trip hop. then back, for about fifteen minutes. "oh, that's just Stacy practicing," Boyd said, when it first happened. when she came downstairs i said, "hey, I liked that thing you were just playing!" "oh, that was just a little something i was playing with while waiting to rinse my hair dye," she said, drying her hair.. and that is my first meeting with Stacy! point being is Eisley is like the iceberg that sunk the Titanic. those three albums, two ep's, numerous digital ep's and live shows are only the surface... haha Eisley sunk the Titanic! _________________ "Die Sonne scheint noch" -- Sophie Scholl <3 <3 <3 |
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Joined: 22 Jun 2004 | Posts: 535 | Location: texas is the reason
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