The Silent Years
Let Go
2009
Sidecho Records
Have you ever heard one of those bands that you knew was special from the instant you listened to the first notes of their CD?
The first time I listened to The Silent Years' debut EP, Stand Still Like The Hummingbird, I knew they were going to be one of those bands. As a debut, Hummingbird is remarkable because the quality of the material is good enough for most acts late in their career. Right off the bat, The Silent Years were a tight band with catchy melodies, sing-along choruses, quality hooks, and rocking riffs.
Their first LP followed in 2007, containing none of the fat often found early on in a band's catalog where they're still trying to work out their sound. The eponymous album featured plenty of potentially radio-friendly tracks, but didn't skimp on the guitar. The pop aspects never overshadowed the rock, and even the occasional foray into new territory such as the bluesy "Devil Got My Woman" was a success. It was clear that The Silent Years were a legitimate band that had clout, but more importantly, talent.
Fast forward one year and a lineup change later to the release of 2008's The Globe. Heralded as the best album of the year by yours truly, The Globe refined and expanded The Silent Years' sound, incorporating more experimental elements, additional keyboards and strings, and more complex arrangements. The new members of the band didn't seem to slow things down at all, but instead the band still seemed to be growing.
It was with reckless excitement that I sat down to listen to the band's newest EP, entitled Let Go. Due for release digitally on April 21st, and physically on July 14th on SideCho Records - the band's new label - Let Go is yet another step towards a much larger world for The Silent Years.
Having heard four of the EP's six tracks in a live setting over the course of numerous shows, I already had some inkling of what to expect. I loved each of the four tracks I'd heard, but the true test would be whether the studio versions could match the rambunctious energy of the live performances, which often have the benefit of a crowd of people singing along.
I won't deny there was some nervousness as I sat down to listen to the opening track, "Taking Drugs At The Amusement Park" - a tune I'd heard performed live no less than four times and have repeatedly referred to as infectious. I must admit I was surprised to discover how remarkably well the song holds up in the confines of the studio. Crunchy guitars and keyboard beeps provide the backdrop for Josh Epstein's operatic verses, but the choral "da, da-da-da" chant is among the most memorable hooks the band have ever come up with and the track has a joyous, celebratory sound. At just a hair under three and a half minutes, "Taking Drugs..." is almost criminally short, but it's sweeter and more addictive than cotton candy. This is the type of song that could be extended out for 10 minutes and you still wouldn't tire of singing along.
"Vampires Bite The Hand That Feeds Them" has received more than its fair share of live performances as well, and once again the song still retains much of the energy on record. A key element of the song not heard on stage with the five (or six, depending on whether cellist Kaylan Mitchell is joining them) piece band are the horns that dominate the studio version. First heard on The Globe's "Pay It Back", horns play an integral part of the track, replacing the traditional guitar riff.
Perhaps the song I was most looking forward to was the EP's third track, "Forest Fire". Live performances are rare but I was lucky enough to catch one of them last October and as I said at the time, it instantly became one of my most wanted songs. During several conversations with the band's lead singer, guitarist, and writer Josh Epstein, the song came up until I finally received confirmation it would appear on the EP.
Slowing the tempo a bit, "Forest Fire" is every bit as amazing on record as I remember it live, if not more so. The horns are much more subtle and less bombastic than "Vampires...", but once again add a layer of depth over a mournful organ and rather somber, introspective lyrics from Epstein. Plucky strings and keyboards keep the song from entering the realm of the depressing, as well as elevate it into the realm of the sublime. The song breaks down into a quiet chant in the final moments before exploding in a wall of guitars and brass. The Globe had numerous similar moments, and it is evident that The Silent Years are masters of this tactic.
The EP's first single, "Madame Shocking", begins with a quiet intro laden with strings and saxophone before moving into a bubbly pop tune with rolling pianos and a lovable xylophone. This is the type of pop-rock the band has perfected over their last three releases, but though it seems to come easy to them it is lightyears beyond the capabilities of your average chart-topper.
The hilariously titled "TV>BJ" brings the tempo up, with Epstein's voice masked by a very ELO-like resonator (or perhaps the converted telephone seen on stage). Drummer Ryan Clancy shows off his impressive skills in this track against the backdrop of a church organ, not unlike the opening of "Goddamn You!" off The Globe. The last 90 seconds of the song are as powerful as anything the band has recorded up to this point. Epstein's voice wails as the tempo gradually increases to a thrashing point, accented by stabs from Verras's violin.
The EP closes with "Claw Marks", a haunting six minute experimental track somewhat reminiscent of The Flaming Lips. Layer after layer is added to the track, along with echoing sound effects and an electronic buzz. The track twists through several changes, ranging from delicate strings to loud guitars. Epstein once described the band's new material to me as symphonic, not necessarily in sound but in structure, and "Claw Marks" backs up this claim, winding through turns, tempo changes, and textures.
Also showcasing almost immeasurable growth and incredible maturity are Epstein's lyrics. His songwriting has always been fairly personal, but never to the extent that we're treated to on Let Go. The lyrics in "Forest Fire" may be some of the most personal he's ever written, and the EP as a whole is very much a window into his life.
Ultimately, Let Go sees the band evolving further. Their core sound is still the same - a mixture of pop rhythms and rock guitars - but they continue to expand, not satisfied with recording sound-alike records. Each new Silent Years project is guaranteed to be challenging, not only to newcomers but even to fans who go in expecting a rehash of their last record. The only thing that can truly be expected is a rich, rewarding experience from one of the world's greatest bands, and some of their greatest material to date can be found on Let Go.
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