Inspired by a mix of 60s folk pop and late 90s/early 2000s indie pop, the guitar picker and songwriter known as Silo Hill displays his own unique blend of the two on his brand new self-titled album, which dropped March 22nd.
Much of the Laramie, Wyoming, resident’s 12-track album was crafted while nestled under the stars camping in remote parts of the state as well as Utah and Nevada. The natural and ethereal environment these songs were born in are entrenched in Hill’s authentic sound. The album was recorded in his home studio, allowing his sound’s individuality to remain very much in tact.
Kicking things off is “Here Goes Nothing,” as he showcases his Elliott Smith-like sound from the jump. His melodic and harmonic voice pairs well with the more upbeat indie acoustic guitar, creating a unique sound unto itself. His voice is soft but commanding, and sounds effortless in his higher range. The echoing at the end of phrases are quickly lifted back to a sharper and quicker chorus, brought to life by his meticulous fingerpicking. The opening track sets the tone for this emotionally-driven album.
Another notable track, “Waltz,” has a more folksy outdoor vibe and “Sunday morning” type progression, falling into a forlorn and imaginative chorus. “She opens her mouth / But the fear rushes in/ This isn’t a movie / No big speech to begin,” are the clever lyrics that match the melody’s tone. The stacked guitar lines are dynamic and are intended to be an homage to Jeff Tweedy’s signature sound. About two minutes into the song, the melody picks up tempo and the pace quickens to a grand crescendo. This creates a frantic build that falls into a Sgt. Pepper’s Lonely Hearts Club-like finale.
“Flash in the Pan,” the sixth track off the album, offers yet another catchy acoustic progression and familiar Smith-like vibe. The chorus hits with a bit more folk rock energy and a little shoegazey electric guitar in the mix. “Who knew you could talk your way out of your own twisted mind,” he sings. Silo Hill’s lyrics and vocal delivery are abstract in a digestible way, similar to his play on scales. His sound is inimitable, keeping the listener on their toes.
“Trail of the Ancients” offers a more stripped back acoustic intro, focusing on again on vocal harmonies that create a feeling of floating, similar to early Flaming Lips songs. The track has a nostalgic melody and intentional pauses after every verse. The “oohs” on each chorus brings the listener back to a familiar and eerily peaceful place of resolution. The short bridge halts the song with a “Day in a Life” type build, and then swings it back into place with the finale chorus, coupled with subtle horns.
The final track of the album, “Start of Something,” is an a cappella song with angelic stacked harmonies, creating an ascending effect. The track showcases his strongsuit — his vocal stacking and harmonies — as he emulates bass and synthesizer. All the building harmonies resolve in a unison note, ending the track — and the album — in a fitting and emotional way.
Silo Hill’s obscurely delightful indie folk sound offers something refreshing and different, and there’s no telling what he might have in store next.
