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tungsten
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new video from the lovely and talented Catherine and Allison. I've been wondering what it would be like for Eisley to dip their toes into something this electronic/retro sounding (music wise, not the video). Would be interesting for sure!

https://www.youtube.com/watch?v=TySVbwKixD8
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olimario
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blah it's kind of generic
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wilsmith
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Makes me think of Lykke Li if she didn't have a conventional band, and used sequencers to make music with.

I can see, and would argue, that Eisley and Sucre have already made music with that level of complexity and sophistication but chose to record it with live instrumentation so that it doesn't sound manufactured/ canned. It's challenging to make programmed and synthesized music sound and feel lively. That takes loads of creativity and talent.

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The Man In The Moon
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tungsten wrote:
new video from the lovely and talented Catherine and Allison. I've been wondering what it would be like for Eisley to dip their toes into something this electronic/retro sounding (music wise, not the video). Would be interesting for sure!


i wish they would, but they said in an interview a few years ago that they didn't see themselves ever doing anything in that realm. of course things can change and some of their influences such as radiohead and bjork have strong electronic elements. besides, a lot of their leaked demos have small electronic elements that could be expanded into cool things. i'd like to see them try out the experimental bjork electronic direction, but i don't know if i see that happening soon.

however, not ragging on the band, but after listening to currents, while i love their sound, i think they might've reached a point where it's time for them to start expanded their musical range. i feel like another album like that would make them sound like a band that doesn't really know where to go anymore (kinda like sleigh bells and the ting ting's 2nd albums or like sigur ros after their first 3 or 4 albums), but i could be wrong.

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wilsmith
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On thing about Eisley is that they haven't had a full length album that stuck to one style or even mood. That's is part of what makes their music sound fresh when I go back to it. I like albums that focus on a particular mood/ tone, but those are also albums I might go years without ever thinking of listening to because I've moved on with my life and am just not feeling that way.

Eisley always has at least 1 or 2 songs on an album that will fit any mood I might come across, with the exception of Combinations. For some reasons those songs, as great as the great ones are, are trapped in that period of time in my life. It may because of the events of my life but to me feels more like they are locked in to genres for each song in a very restrictive way that wasn't he cause prior to that. It feels like they didn't get back to the stylistic amalgamations that stood out on Room Noises their earliest works until Currents.

One thing I think is interesting, is that as far as a Dark, moody, groove centered/ Radiohead/ Bjorkish release exists in small parts on the Combinations/The Valley/ Deep Space/ Currents. There are a handful of songs on each that can be put together to create that Eisley album you're after. I think it starts with I Could Be There for You, and would include the Valley, Mr. Moon, Laugh It Off, One Last Song, and the majority of Currents honestly (I would exclude Save My Soul, Millstone, Real World, Find Me Here and Shelter).

If you get past the instrumentation itself aka Production values and just listen to what the drums, bass, keys, and guitars and doing musically they are already using those types of song structures, but producing them with live instrumentation which gives it a different feel.

The thing is, if they put out an album with just those songs it wouldn't feel like Eisley to a lot of people. I remember the reactions they got for Deep Space EP and even some fans disliked Currents because it represented a less tradition approach to arrangements and production.

I think frame of reference is very important. For people with certain tastes Eisley is on the outer fringe of contemporary alternative pop, nothing approaching normal or conventional compared to what people hear in popular culture. For others Eisley is nowhere near as esoteric as what they typically like, and sound too conventional for their ears. It's a catch 22 because going too far in one direction alienates a large share of either audience, and there is no guarantee that the fans of that particular extreme of tastes will like whatever songs Eisley make in that style. You risk losing all your fans to please some. Fans are too fickle to compromise following your own instincts and muses to make music that you enjoy as an artist and come naturally to you. If that's what got you the job, stick with it, and juste grown your skill set and refine your craft and you'll get to where you're best in time. I think Eisley is doing that as gracefully as any band could hope to in this day and age.

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The Man In The Moon
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It'd be cool to hear it for at least one album; kinda like fleetwood mac's tusk album. With a lot of their demos I'd like to hear them try to expand more on minimalist and electronic elements with more emphasizes on vocal and harmonies.
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wilsmith
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If the others could play keys and felt comfortable using programmers and sequencers I could see it happening, but it sounds like the lion share of the work creating the arrangements would fall on Stacy and Garron if the others didn't have the opportunity or ability to write in that mode.

I have a feeling they are going to keep projects like that on the outside of Eisley and let Eisley the band handle the rock music.

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bigideas
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Garron plays keys?
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The Man In The Moon
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i remember sherri saying on a twitter Q&A that she wrote and demoed most of her songs on keyboards. they do have a microkorg and a nord, and i think they said something about using kontakt too for mellotron samples. plus logic pro has it's own share of software instruments. haha weston could always get a sampler and such. oh and chauntelle has quite the developing pedal board.

side note: i was surprised to find that chauntelle was more of a folky songwriter, but i like it. i do see her being more christine mcvie in the band. but i can't decide who's more like buckingham and who's more like nicks.

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wilsmith
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Yeah, the one demo on Fire Kites was like that. It just seems she doesn't have interest in going further with that otherwise you could have Sherri move to keys on songs where Stacy plays guitar etc. In live shows but that has yet to happen and when they played without Stacy at Brewtones they just dropped keys altogether, and they sounded great all the same.

I know Sherri seems to even loath playing guitar at times which is a disservice to her talent. Maybe it's all a self a depreciating front, or maybe she's like some people I know who would much rather have other people do things for them?



bigideas wrote:
Garron plays keys?


He plays a lot of instruments. Remember he played the strange instrument for the song Combinations. I was more thinking of his role as the in house producer/ engineer within the band since he has played that role on Currents and Sway. Since electronic albums are chiefly products of the production via computer software he would bare a heavy toll putting it all together.

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The Man In The Moon
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Boyd said something about a song called Good Times where Sherri and Stacy switch instruments. But that was forever ago.

Well, the demos for lost at sea, queen of leaves, humming birds, a sight to behold, invasion, and marsh king's daughter are all key based. Then a few more are a Capella except for maybe some sort of a drum loop.

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wilsmith
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I always thought they worked on some demos together like, "hey I have a song idea for piano, goes like this, could you play something like that for me?" I never assumed Sherri would be playing keys. I remember Christie might have on some of her demos but she stopped.
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The Man In The Moon
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i remember sherri saying that she wrote on both keys and guitar (at the time preferably keys), and that she shows it to chauntelle and stacy to figure out. i feel that if sherri were to ever go solo, it'd be cool to see her just be a vocalist kinda like what stacy already does. but i think sherri would be a lot more rock driven like when stevie nicks went solo.
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tungsten
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Personally, if Eisley expanded their style I would advise either a more Electronic album or a more Folkish approach (go see Fleet Foxes live and tell me if that's not the most fun possible at a concert). Wicked Child's early live performance that was uploaded to youtube almost dipped in that direction (with Garron playing an upright bass I believe).

And as for The Pierces being generic, I would definitely contest that. Retro would be a much more fitting description (I know they also get Fleetwood Mac comparisons by the critics quite frequently). They aren't Eisley or Sucre but they are awesome and hypnotic.

I never said that Eisley's music had not reached that level of complextiy/orchestration/arrangements/what have you. Rather I wondered what Eisley would sound like doing something more like 'Kings' (retro with an electronic flair, something almost disco-ish, like a modern Blondie). Another example might be what would Eisley sound like doing Ellie Goulding's Halycon album? or Active Child? I can see Stacy doing something like this with the next Sucre album:
(High Priestess) https://www.youtube.com/watch?v=R63XIZOgHkM
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The Man In The Moon
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Lost enemies was somewhat a step into the electronic side. I wish they would've stripped it back slightly though. If they were to do an electronic album we might finally get to hear it live! I'd love for them to polish up The Mainframe too.

I can see them dipping toes into something electronic or stripped down folk.

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