When is it coming out?
We don’t have a date yet, it’s not nailed down. [The] limited-edition [version], we’re going to do this cool little booklet that has some Eisley history and photos, just things that we’ve scanned and art. So we have to get that together. It will definitely be before the end of this year, hopefully though. That’s what we’re shooting for.
What are your schedules looking like for the rest of the year?
We have the tour coming up in September, and then after that we probably just have some time off. I’m guessing we will hang out with our families and take some time to do that, but then maybe start writing a little bit, because eventually, we’re going to need to start working on the next record. It gives us some time to write. I know my husband is going to go out and tour, and I might go out with him and do something there. It’s all up in the air right now.
So catch me up: You pretty much brought all your gear over to Sherri and Chauntelle’s houses?
Andy Freeman: First we went to Sherri’s house, but there was no AC there, so we worked for a week with no AC and 110 degrees outside. Then we packed everything up and brought it over to Chauntelle’s [house]. All my gear is in shockmounted cases, so I wheeled the rack units in the control room into Kayla [DuPree]’s room, and we turned the living room into a tracking space with the drums against one wall and amps in the corners and some amps in closets. We put mics in the bathtub for room sounds and things like that, just generally using the space however we could.
That sounds like an incredible amount of gear.
Yeah, it’s a lot. I think the weight on all the freight pallets was, I think, 1500 pounds. It’s a lot of stuff, but I didn’t want to leave anything out, and we used all of it. You know, a trunk full of mics and then a support trunk with giant mic stands. Basically, really anything you see in a studio except for a $700 coffee maker and interns were in those cases.
What are the biggest logistical challenges you face with doing recording this way?
Just today we had to take a 15-minute break because the neighbors had turned on the shower. I don’t mind stuff like that, because it adds character to the session. The logistics otherwise moving the cases around—I mean, Chauntelle’s got a few steps up to her door, so we had to have three guys lift that case, and that wasn’t any fun. But I travel with clean power, I’ve got a big transformer that cleans up all the power, so there’s no buzzing or anything. I’m pretty much prepared for any potential logistical nightmares.
What about the space you’re working in right now makes it conducive to the recording this EP?
I came down to Tyler in March to meet Boyd, their manager/father, because we had been talking on the phone for over a year but never met. I came down and saw his house, the house that they all grew up in, and there’s antiques and there’s paintings and fairy tale books. It’s like an Eisley record just sprang to life in front of me. All the lyrics and all the sense of wonder and the sense of enchantment, it’s all in that house—and it’s all in Sherri and Chauntelle’s houses as well. I thought to myself, “Well, we’ve got to go where the music is. We’ve got to go where these people are inspired and capture that sense of place that they’ve always had in their music.” So I pitched Boyd the, “Hey, let’s record at home” [project], and everybody loved it.
It makes sense their houses would be like that, because their music is sort of otherworldly.
Yeah, I would’ve been extremely disappointed if they had had, like, your average McMansion with a two-car garage and all of that. I assure you it’s nothing like that. It is magic.
What’s been the best part about the experience for you?
Working with artists that are comfortable is always great. They enjoy where they are, and they enjoy being around their family, and that makes them comfortable and means ideas flow a lot more freely. That’s been the best thing for me, is knowing that I’m working with people who can create and be at their creative peak because of their surroundings.