Retro Review: “Let It Go” by Silo 6
There are things that I like about this record and things that I don’t. Like many local bands’ albums, Silo 6’s release “Let It Go” has a lot of great things going for it, but it also unfortunately has elements that could have used more refinement.
There are some standout tracks on this record. The opener, “30 Seconds of Uncertainty,” is a great track that balances what this group is able to pin down well. Most of the track is very open, with a relatively naked production style. Auxiliary percussion helps to blanket this track in a lackadaisical ooze a-la Cake. Everything sounds sonically very pleasing, crisp, and well-balanced in this track, and Silo 6 produces a respectable contrast between the intensity of the verses and chorus. Something about this track gives me a Doors vibe, and I think it originates from the tenacious and punchy vocals strewn about this whole record, as well as the track’s thick and mid-heavy fuzz guitar tones.
It seems damn-near insulting for a band of this era not to include a horn feature, and on tracks like “Spy Hunter” and “Periwinkle,” the saxophone is used effectively to fill out the mix.
Silo 6 conveys existential, depressed, and self-indulgent lyrics throughout most of this record. This is contrasted by a song about Mr. Rogers’ unquenchable blood lust (“Periwinkle”) and another about how great polyester is (“Polyester Child”) Silo 6 shines brightly in their slow and reserved numbers where there is more wiggle room for improvisation and feel (“Pride’s Umbrella” and “30 Seconds of Uncertainty”), and they also shine when they’re playing just to have fun and not take things so seriously. It’s in the nuance in between these two sides of the spectrum, however, that Silo 6 is a bit lacking.
Some of the negatives of this record for me are noticeable rhythmic errors and poorly done transitions. In some sections they transition into different feels perfectly, in other tracks they seem to be full beats apart from each other before reuniting. Live music’s charm sometimes lies in its quirks — small mistakes and character that gleam through the cracks of incredible music. Mistakes on a recorded release, however, seem to erupt like fissures and distract from the finished product.
Songs like “Psuedobanshee” seem to be going for a naturalistic, stream-of-consciousness style of lyricism, but it’s difficult to follow any one theme they may be trying to convey. Many attempts to be real and sincere in their lyrics tend to be overshadowed by the more fun throwaway numbers on this record. This isn’t a bad thing necessarily; it just feels a bit cloudy and unsure. But maybe that’s what they were going for.
By the final track (“Polyester Child”), I found myself grinning as Silo 6 worships virgin polyester-blend clothing and heads into a jazz breakdown. This track really lets the sax rip through like the ending of an episode of Saturday Night Live.
Overall, I think this is a fun, cool record and a good listen, but I wouldn’t take it too seriously or you might be disappointed. It has a lot to offer in style and originality but falls a bit short of incredible for me. I rate it a 6.5 out of 10.
