The Silos: ''Come On Like the Fast Lane''

After 20 years as the leader of The Silos, it would be easy for the Silos' Walter Salas-Humara to sink into a creative comfort-zone, turning out likable, catchy tunes with zero edge. Not so.Come On Like The Fast Lane buzzes with rock energy reminiscent of the proto-punk lower East Side legends like The Velvet Underground and Television, punched up with pop melodies that resuscitates a sound that never went out of style.ï¿? The songs on Come On Like The Fast Lane play out like minimalist short stories framed by the spacious, guitar-heavy arrangements the band is known for.

Recording in Philip Glassï¿?s Looking Glass Studios, The Silos put their power-trio to the test. The band employs layered guitars to add depth and transcendence to the albumï¿?s introspective tracks, switching to ferocious, hook-laden rock to part the clouds and land back on terra firma. Itï¿?s this ability to draw on an inexhaustible well of emotions with turn-on-a-dime transitions that sets The Silos apart; naked honesty and joyous melodies never sounded so good together. It will come as no surprise that early in their career, The Silos were named ï¿?Best New American Bandï¿? by Rolling Stone magazine. After several brushes with fame and numerous critically acclaimed albums, it is heartening to know that the band continues to make brilliance look easy.

The album opens with the Salas-Humara/Steve Wynn co-penned ï¿?Behind Me Nowï¿?, showcasing guileless pop guitar breaks while questioning hidden meanings with equal application to the personal and political. A bleaker view presents itself in ï¿?People Are Right,ï¿? as Salas-Humara describes the condition of a ï¿?ï¿?heart that is adrift between the shores and heaven and hellï¿?. ï¿?Keeping Scoreï¿? takes the high lonesome sound associated with soundtrack genius Ennio Morricone and infuses it with distinctively American noir elements.