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tungsten
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Lights Out is underrated.
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treetops12
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I really liked the direction they were going with Currents, Blue Fish, and Drink the Water. But I felt like the rest of the album didn't flow so I changed the track listing on my iPod and I enjoy it more now. But these days I'm more into Sucre and the Loner EP kinda goes in the direction I was hoping for on Currents.
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wilsmith
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The album definitely takes a big shift after those 1st 3 tracks which are so dramatic and lush, and feel like an extension/ evolution of what was going on on Deep Space.

If I were to trace back to as for as the previous 2 LPs (instead of going all the way back to the earliest EPs and Demos which have that vibe in places) I would go so far to say that "I Could Be There For You" and "Mr. Moon" are pillars on which they built that the darker, sophisticated Eisley style.

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Congratulations
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Wow, I guess I've been away for a long time. I really enjoy Blue Fish (classic Sherri), Save My Soul (a fun rocker that reminds me of Invasion), Millstone (go Chauntelle!, though the track seems to run a tad long), Real World (Stacy sounds heavenly!), and Wicked Child (love the way it builds and the bittersweet melody).

I'm not overly crazy about the rest of the tracks, but I still think this is a very good album overall. That said, it's not in my current rotation.
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The Man In The Moon
Lost at Forum


wilsmith wrote:
Yup Love

I definitely feel like this album was sequenced for Vinyl, with a traditional A Side and B Side that are distinctly unique. That may be lost on people used to the CD era and playlists that flow throughout.

For me, and I'm dating myself, but:

A sides always equaled: AM (Time of day) or FM (radio)

B sides always equaled PM or AM (radio)



i never thought about it that way, but it's totally true! the tone change midway through makes sense now. i also remember reading something of pink floyd's The Wall. the argument was that during the vinyl era, having to switch the sides of vinyl or changing to another one was enough time and distraction to shift the vibe and atmosphere of the album. however, when listened to continuously via cd or digital library, the tone changes and shifts felt jarring cause you didn't have that break or pause. i think that's also why sigur ros chose to put about 30 seconds of silence in the middle of ()

anyway, on the rock aspect, i think the Perma song You're Welcome was totally a sherri song. I think the guitar playing is her style, which makes me wish that they'd turn her guitar up a little more in the mixes of eisley songs. at the same time, i could totally see it being an eisley song, maybe fitting on The Valley, Deep Space, or the second half of Currents.

And once again, this makes me wish Sherri would make a solo album.

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wilsmith
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Agreed, I would want a full Sherri rock album, power trio style, just her on guitar, a bass player and a drummer, no other vocalist. Take the energy of her solo acoustic sets and the emotional intensity of something like her cover of Heartless and make an album with that as the template. Either that of embrace the 3 guitar version of Eisley that appeared on Sad live.

An Eisley EP called Guitar for Days. That would be the ticket.

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The Man In The Moon
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wilsmith wrote:
Agreed, I would want a full Sherri rock album, power trio style, just her on guitar, a bass player and a drummer, no other vocalist. Take the energy of her solo acoustic sets and the emotional intensity of something like her cover of Heartless and make an album with that as the template. Either that of embrace the 3 guitar version of Eisley that appeared on Sad live.

An Eisley EP called Guitar for Days. That would be the ticket.


plus a few piano/organ based songs and we're good. for some reason, even with that description, i still hear her album being somewhat like stevie nick's bella donna but in a modern indie way.

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wilsmith
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I wouldn't mind them pulling a Elysuim and doing an entire EP with no guitars, instead replacing them with keys and strings and having all the vocals being done in 3 part harmony.
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The Man In The Moon
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wilsmith wrote:
I wouldn't mind them pulling a Elysuim and doing an entire EP with no guitars, instead replacing them with keys and strings and having all the vocals being done in 3 part harmony.


i didn't realize velvet teen had a bandcamp. awesome.

i could see it working. i feel sucre kind of does this already, but an eisley version would be interesting. i would want it to be more raw. though, eisley's the kind of band that has never been as raw sounding as i wanted to since leaving WB. i just wonder if jeremy larson would be the right guy to work with. don't get me wrong, i love his arrangements, but i feel he caters more on the theatrical side of arrangement; which is also why it works for the new say anything album.


edit-

i feel like Lost Enemies would've been better with a more raw production similar to the Elysium album. also, i feel that's how The Mainframe should be produced should it ever make an album, which i really hope it does.

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wilsmith
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Yeah, I was thinking something different that what Larson has done. Stark and raw/ less orchestral. Not necessarily just like Elysium, but the idea of taking an Eisley song and arranging it for different instruments rather than embellishing it with supplemental orchestration would be good to see like how they eventually reworked the arrangement of the Valley live with a new guitar part so it wasn't so reliant on tracks.

This would be a good situation for using midi equipped guitars so you could actually play those parts on their guitars.

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Last edited by wilsmith on Wed Nov 26, 2014 3:46 am; edited 1 time in total
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TheAntrider
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I don't think I'd listen to Eisley without guitars ... Frankly, it's flat if you remove anything. I don't like how one-dimensional music is these days. I like Eisley in part because they give a lot ... the vocals, the rock music interlaced with pop. There's complexity and contrast.

I like this album and am tired of exhaustive attempts at dissecting works of art piece by piece and then having to defend my "I like it" because it doesn't show how real I am by hating this or that.

Maybe this is another reason I'm not posting much anymore. Confused

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wilsmith
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I completely follow you Antrider. I think of this more as trying to figure out where they will go next, given the tendency for them to surprise us with their creative choices. I have yet to dislike a release though I am more fond of some.

At this point this thread is more of a brainstorm session to me.

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The Man In The Moon
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well, i read in Steal Like An Artist, one interesting approach to making art/music is to create what you think the artist you're into should/would create next. i have yet to do this, however, cause i almost always forget about my plans whenever i sit down to intentionally write. Also, most of what I write is stuff i came up with on the fly, so…

but it's a process i definitely want to try at some point.

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wilsmith
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Since so many artists have problems with the musif business, die young, or bands break up I know initially was driven to make the music I wish they might have made but I found out that I was more satisfied with my own ideas than my attempts to channel my inspirations. In the band we/ I had a no cover rule if the artist doing the song originally was still touring. Why hear us play it when the author was available?

The truth is murky because when I look at my favorite songs they have many eleme ts borrowed from the inspirations I have, though when filtered through me they might not sound like those inspirations immediately. I guess how closesly an artist's talents mirror their inspirations factors in too.

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bigideas
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http://m.pitchfork.com/news/58849-tame-impala-announce-new-album-curre nts-share-cause-im-a-man/

Tame Impala's new album is called Currents.
Maybe they will get a little bump when people search for it.

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