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.
After 20 years as the leader of The Silos, it would be easy for 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. The songs play out like minimalist short stories framed by the spacious, guitar-heavy arrangements the band is known for.
On Come On Like The Fast Lane, recorded in Phillip Glass’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 album’s introspective tracks, switching to ferocious, hook-laden rock to part the clouds and land back on terra firma. It’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.
Come On Like The Fast Lane opens with the Salas-Humara/Steve Wynn co-penned “Behind Me Now”, showcasing guileless pop guitar breaks while questioning hidden meanings with equal application in the personal and political. A bleaker view presents itself in “People Are Right” as Salas-Humara describes the condition of a “… heart that is adrift between the shores and heaven and hell”. “Keeping Score” takes the high lonesome sound associated with soundtrack genius Ennio Morricone and infuses it with distinctively American noir elements.
Behind Me Now
Tell Me You Love Me
People Are Right
Top of the World