In today’s age of technological advancement, rampant information and instantaneous accessibility, the A-list seems to be increasingly filling up with younger names. This seems to have exploded only in recent years, but back before it wasn’t completely ridiculous to hear that Justin Bieber might be in your next intro to psychology class, Eisley was already turning heads with their double edged sword of mature-sounding music and demure youthfulness.
Band already well-defined
Their cohesive vision was cemented through a realized integration of their lyrics, art, fashion and music, which might have very well made them instrumental in forming the popular modern penchant for vintage culture. Their first album, “Room Noises” was full of lyrical scenes seemingly taken from some shelved Lewis Carroll fable. Eisley has always been accompanied by images of muted earth-tone woodcut stencil images of smiling suns, Victorian dressed adolescents, birdcages and animals wearing suits.
As if they knew that world would become overexposed, their criminally under-appreciated sophomore effort “Combinations” kept that flavor to a minimum, and explored classic themes of self-reflection. Their latest record, “The Valley” follows suit, tackling relationships, impressions and the ever-unusual dance of human interaction.
Recent release preserves matures sound
“The Valley” retains a significant tightness, which can be explained either as more structured or simply as further evidence of maturity. It’s a bit unusual since the subject matter does seem to be a bit less profound compared to “Combinations.” Here we find the women of Eisley singing about boy-girl relationship woes almost exclusively, and all in ways we’ve heard before — whereas the reflections on familial tension in their second album was perhaps less cliché. The stories are still just as personal though, and vocalist Sherri DuPree, formerly married to Chad Gilbert of New Found Glory, references her break-up as influencing much of the lyrics in “The Valley.”
The instrumentation itself and even the way these melodic hooks fall on the ears seems a bit more confident and seasoned, as if there were audibly noticeable years of wisdom in the riffs alone between this album and the last. The rolling chorus on “Watch It Die” compliments its bouncy hand-clapping verses in a way that would never occur in an earlier Eisley record. “Oxygen Mask” is infused with a subtle foot-stomping shuffle, giving it a memorable distinction from the rest of the songs.
Album showcases each song
Since the band’s sound is so defined and well preserved, making each song unique is a skill they’ve had to work especially hard at. “Combinations” was a start and perhaps this album is their best effort in accomplishing that delicate balance. The music sounds more like pop, maybe due to lead singers Sherri and Stacy DuPree marrying frontmen of pop and rock styled bands: Max Bemis of Say Anything and Darren King of Mutemath, respectively.
This fresh emphasis on song structure will probably serve the band most in the long run. Previously, the DuPree sisters proved to the world that they could sing, but often by laying alternate vocal parts over each other, producing gorgeous sounds, but sometimes a muddled and therefore forgettable melody. Here, their voices combine with the rest of the band to serve and provide a showcase for the song itself, rather than the other way around.
Lyrics strong on album
The song titles are simple as usual. “Sad,” “Smarter,” “Please” and “I Wish” are just a few, but the lyrics are stronger and feel more natural. Some lines in previous albums seemed to be written on the spot without edits, and came off as undeniably awkward — but here, the band has discovered that even the phonetic sounds matter. They still retain traces of their fairy tale roots, and occasionally this is a welcome trait. Other times, they give way to overly theatrical lines that not even a pretty song can pass off as unnoticeable — for example, combining the exhaustible poetic “Oh!” with the character “Mr. Moon.” Pseudo nursery rhymes can be done well, and who better to illustrate this than Eisley, but sometimes, it feels misplaced. Thankfully there is enough content here to excuse these moments. The line is completed as “Oh, Mr. Moon, shines down on my home, it’s where I belong without you…” which is in itself an interesting idea, especially within the song’s greater picture.
The album closes with “Ambulance,” a hopeful plea for rescue. With their real life relationships for the most part intact, it seems Eisley has little to worry about in their band career as well.
