[rating=7]
On Eisley’s third album, The Valley (2011), anger and desperation act as both the record’s centerpiece and Achilles heel. Those looking for a return to the ethereal angst-laden dream-pop of Combinations (2007) or Room Noises (2003) are certainly in for some disappointment. The songs on The Valley are deeply rooted in the visceral rawness of heartbreak and the ensuing waves of disillusionment, wrath and desolation. Thankfully, sisters Sherri and Stacy DuPree (the group’s main songwriters) have crafted eleven songs that mostly use these emotions with grace and poise. While the anguish can get tedious at points, there is not one moment on The Valley where one doubts the sincerity of the songs, and that’s a feat in and of itself when working in such psychological territories.
Each of the album’s eleven tracks drip with lushness and beauty. The title track explodes with vibrant strings, quickly joined by an engaging melody and soaring harmony that immediately catches the listener’s attention. It’s actually quite the perfect opening for the album, in that “The Valley” encompasses so much of the sonic landscape explored over the ensuing thirty-five minutes. There’s no denying how powerful the instrumentation and arrangements are on The Valley, indicating that the band in no way suffers from a lack of imagination or inspiration. Rather, songs like “Ambulance,” “Mr. Moon” and “Watch It Die” demonstrate Eisley’s capacity to balance a variety of competing instruments with the sisters’ harmonies and the potency of the songs’ lyrics. If for no other reason, The Valley demands a few spins to experience the strength of the musicianship.
While the music of The Valley is polished and inviting, it also is firmly entrenched in the vernacular of 1990s alternative rock. The production, arrangements and harmonic structures immediately recall Dolores O’Riordan (The Cranberries), Leigh Nash (Sixpence None the Richer), Alanis Morissette and Veruca Salt. Even though this is not necessarily a disadvantage to the record, it is somewhat of a disservice to the group’s songwriting acumen. Whereas nostalgia-based groups (Best Coast, Tennis, She & Him) work because their sound is so rooted in pastiche, Eisley’s alignment with the 1990s does not come across as their essential focus. If The Valley drew upon these influences on a lesser scale, the result would have been much more compelling. Still, it’s a very solid effort, and one that deserves plenty of attention. Eight years into their career, the band is flexing their creative muscles and releasing captivating work, missteps and all.
