Podcast: The Best of Eisley

Over the past decade and a half, Tyler, Texas, band Eisley have made a habit of releasing delightful, poignant, purposeful indie pop. On this episode of It’s All Dead, Kiel Hauck and Nadia Paiva break down the band’s discography, ranking all five full-length albums, from Room Noises to I’m Only Dreaming. They also share their top 10 songs and discuss the band’s wild ride from their early major label breakthrough to their return to their indie roots. Listen in!

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What’s your favorite Eisley album? Share in the replies!

Posted by Kiel Hauck

Podcast: Interview with Garron DuPree of Eisley

It’s been one month since indie pop outfit Eisley released I’m Only Dreaming, their fifth full-length album, and now the band is back out on the road. During a recent tour stop in Indianapolis, Eisley bassist Garron DuPree talked with Kiel Hauck about how recent lineup changes impacted the band’s writing process and how he views Eisley’s evolution. Garron also shares the excitement the band felt while working with producer Will Yip and how the band’s new form provides more freedom than ever before. Listen in!

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*This podcast mistakenly refers to Garron as Sherri’s brother. Garron is Sherri’s cousin.

What is your favorite song from Eisley’s new album, I’m Only Dreaming? Share your thoughts in the replies!

Posted by Kiel Hauck

Review: Eisley – I’m Only Dreaming


Sherri DuPree-Bemis wastes no time dispelling any lingering fears Eisley fans may have had leading up to the band’s new release, I’m Only Dreaming. The album’s opening moments are quintessential Eisley, right down to Sherri’s haunting delivery of, “Whisper my name, I will find you, I will fly”. “Always Wrong” is a track that harkens to the days of Room Noises or Combinations with effortless ease and is a clear, if ironic, sign that all is right in Tyler, Texas.

When it was revealed late last year that Stacy King and Chauntelle D’Agostino would no longer carry on alongside their sister in Eisley, it was easy to raise questions about the band’s future. A large part of what made Eisley such a charming outlier in the indie scene was the distinct delivery and style that each DuPree sister brought to the table.

You can buy I'm Only Dreaming on iTunes.

You can buy I’m Only Dreaming on iTunes.

Thus, it speaks volumes to DuPree-Bemis’ talent and vision that I’m Only Dreaming not only captures the best parts of Eisley throughout the record, but also may very well be the band’s best release.

Each Eisley record seems to carry a particular theme and I’m Only Dreaming is no different. As the title suggests, the album unfolds in dream-like fashion, musing on the complexity of love, the dread of anxiety and insomnia, and the courage to overcome self-doubt. Like so much of the band’s discography, this new album carries a wistful ambiance that courses throughout.

Tracks like “Louder Than a Lion” embody the spirit of Eisley while also serving as a sonic step forward. The song’s electronic underbelly carries raw guitars and the sounds of a weary Sherri acting as a nighttime guardian of her daughters: “Cause I’m louder than a lion / My hands wipe out the ghosts / I’m brighter than a diamond / My light will shine the most”.

I’m Only Dreaming is truly an exercise in diversity, constantly rearranging the building blocks of the signature Eisley sound to create something new. “Snowfall” starts as an eerily delicate and familiar track before the full band breaks through at the two minute mark, highlighted by Sherri’s explosive delivery of, “As we watch the snow fall down, down / I am so far away from you now”.

Alongside these darker offerings, tracks like the light and airy “Sparking” or the alt-country tinged “When You Fall” stand in stark sonic contrast without feeling out of place. Even the poppy, bounding feel of “A Song for the Birds” with husband Max Bemis fits the narrative, with Sherri singing a chorus of, “My love for you, don’t ever doubt / You fill my heart, so sing it out / While we keep moving forwards / This is a song for the birds”.

It’s fair to argue that such an eclectic mix of sounds wouldn’t tie together quite as well without the presence of producer Will Yip, who is quickly becoming one of music’s most exciting minds. You can literally feel his graceful hand in the mix on early singles like “You Are Mine”, which knits together the instruments with surgical precision. Repeated listens with noise-cancelling headphones reveal even greater detail, and prove this to be Eisley’s best-produced album by a comfortable margin.

Sherri and cousin Garron DuPree handle the bulk of the writing duties on Dreaming and, together with Yip, have crafted a superb next chapter for Eisley. On “Defeatist”, Sherri’s repeated closing refrain captures the heart of the record, and perhaps alludes to the strength it took to push past what must have been a painful setback: “As the dust falls down, I usually give up so easily / I let my head hang down before I even see / A truth that’s plain as day, staring back at me / I’m a defeatist but I don’t have to be”.

The fact that we have a new Eisley record in 2017 is cause enough for celebration. That the album might be the band’s best is an absolute triumph.


by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Eisley – Room Noises


During 2015, we’re going to be looking back on some of the best albums that were released 10 years ago and discussing their legacy. Feel free to share your thoughts and memories in the replies. Enjoy!

Contrary to what you might think, Eisley didn’t catch lightning in a bottle with their debut full-length album Room Noises. As fledging and fresh as the album feels, that release was the result of hard work and perseverance, developed from years of touring and refining their sound. Even after several years of grinding, Eisley still possessed an eager pep and sense of wonder.

Leading up to the release of Room Noises, the Tyler, Texas, indie pop band, comprised of the sisters DuPree (Sherri, Stacy, Chauntelle), cousin Weston and friend Jon Wilson, had already begun to make their mark. A few well-received EPs and a building local buzz led to a record deal with Warner Bros. and an opening slot on Coldplay’s Rush of Blood to the Head Tour. By the time the band dropped their anticipated debut, more than a few ears were already standing at attention.

What’s incredible about Room Noises isn’t just that the album met expectations or cemented Eisley as one of the most creative indie acts around, but that it’s simplicity and effortless enthusiasm still resonates a decade later. An effort that would serve as a building block for later lauded releases such as The Valley and Currents, Room Noises possesses a charm and distinct innocence that sets it apart from the band’s other records.

At its core, Room Noises is about love, imagination and youth. Even the album’s more somber moments are lifted by the beautiful harmonies of Sherri, Stacy and Chauntelle. In their later work, the trio would find more subtle moments to let their harmonies shine, but on Room Noises, they fly free and often, adding a dream-like feel to tracks like “Memories” and “One Day I Floated Away”.

Musically, the album leans on pop sensibilities, but the band isn’t afraid to let their rock side show when the situation calls for it. Sherri’s guitar tones on breakout single “Telescope Eyes” add a dark overlay to the song before Stacy’s keys take over during the opening verse. As Sherri sings, “I wonder, why can’t you see / You’re just not near enough like me / With your telescope eyes, metal teeth / I can’t be seen with you” it serves as the ambiguous build for the song’s melodic chorus.

This vague imagery pervades Room Noises, offering moments of hazy beauty, such as the eerie “Marvelous Things”, which finds Stacy singing the peculiar opening lines of, “I woke the dawn / Saw horses growing out the lawn”. “Lost at Sea” captures the album’s drifting imagery well, intertwining it with peacefulness as Sherri sings, “And I’m not so afraid / Lost at sea, as I should be / And I’m not so afraid / Lost at sea, you and I, you and me”.

Other high points on the album include the ghostly chorus of “I Wasn’t Prepared” and the gentle pop rock drive of “My Lovely”. There are no weak points to be found on Room Noises, as the album moves at its own pace, unraveling each story with patience and delight. These noises aren’t meant to scare – instead, they’re catalysts for exciting exploration and wonder.

As the years following the release of Room Noises passed, the harsh realities of difficult life experiences and circumstances would lead Eisley in a much more blunt direction, culminating in 2011’s The Valley. That album, as adult and mature as Room Noises is innocent and youthful, captures the painful trials that come with adulthood and shares the story of how we overcome. It may very well be the band’s high-water mark, even as it sheds much of the band’s innocence, making their journey that much more real and authentic.

On “Brightly Wound”, the DuPree sisters join in singing, “I shall never grow up / Make believe is much too fun / Can we go far away to the humming meadow”. It’s the sentiment of many a child and the memory of many an adult. The unfortunate truth is that pain and disappointment are inevitabilities in this life; no matter how hard we wish them away.

Nevertheless, we’re always invited back to that place of peace, even as the pain passes. If nothing else, it certainly makes life’s bumps and knocks in the night just a little less scary.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.