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John Nolan - Height

Rating

RIYL

Straylight Run
Kevin Devine
The Dangerous Summer

Release Date

10/26/2009

Label

Doghouse Records

Tracklist

1.The End of the Beginning
2.Till It’s Done to Death
3.It Takes a Long Time
4.Screaming Into the Wind
5.I Don’t Believe You
6.Standing Outside a Broken Phone Booth With Money in My Hand
7.Here I Am
8.Keep Calm and Carry On
9.I Won’t Ever Be There
10.Not to Let Go

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John Nolan has proven himself to be a talented musician. Starting out as the guitarist, and a far better singer and lyricist than Adam Lazzara, of Taking Back Sunday, he went on to start up the melodic piano-pop group known as Straylight Run with fellow TBS member Shaun Cooper. Nolan was finally away from Lazzara and was able to show he was better off without him. Now we find him all alone, releasing a solo album entitled Height, an album that seems completely, well, unnecessary.

Height truly feels like Straylight Run hyped up on steroids. It doesn’t stray too far from anything that Nolan does in his other band, which gives strong reasoning as to why this solo effort didn’t need to be made at all. The lyrics are the same introspective, emotional, and philosophical ones that have been heard on Straylight Run records, and the music is not dissimilar from their records either, as they are practically a more electronic version of what Nolan has done previously. Through what seems like negativity, the album is full of pleasant music that will allow you to get through the whole record, but there are a few speed bumps along the way. While poppy, rollicking tunes are fun to listen to, and some of the melodies and choruses will be unapologetically swimming through your head, there is no unique substance that will warrant repeated listens.

After releasing About Time, an EP with Straylight Run, and while touring through the U.S. and doing the Soundwave Festival dates in Australia, Nolan somehow found six months to record Height, which leads to the album sounding a bit rushed, without much thought put into it. A prime example of this theory is the track “I Don’t Believe You”, which is an awfully cheesy, synth-heavy electronic drum track that is more annoying than it is catchy. Nolan’s voice has a bit of delay while he sings what he may think is a cunningly witty line, “I keep trying to think of clever ways / to say that I don’t believe you / but nothing comes to mind / so I’ll just make it plain / I don’t believe you.” Lines like these make you wonder if it really was him who wrote “Existentialism on Prom Night”.

The electronic quality found repeatedly on the album kills songs like “It Takes a Long Time”, a lackluster track that treads along with a Latin fused guitar while Nolan’s voice takes an odd nasal tone, making him sound like he’s whining more than normal. It is a sore point of the album that shows where some of the electronica personality of the album adds too much noise, convoluting the original recipe of the song. “Not to Let Go” closes out the album and is by far the most disgusting attempt at a pop song that Nolan could ever make. It is riddled with clichéd samples and an irritating, twinkling electronic piano, cementing it as a terrible idea to end the album on such a note. While there is a good amount of negativity expressed, there are certainly a good number of songs that deserve honorable mention.

Nolan finally provides some bite to his vocals on “Screaming Into the Wind”, where the bass creates a satisfyingly dark and spooky impression, as Nolan’s repetitive breathing sample provides a unique beat. As the standout track of the album, Nolan creates a sadistic croon as he worriedly explains, “You’re an easy mark / and I just need a target right now / because I can’t face myself / I can’t honestly own up to who I am.” The opener “Till It’s Done to Death” successfully uses the synth/acoustic guitar combo to produce an infectiously enticing track that is more fun than anything else on the album, making it a song you’re meant to bounce your head to. “Here I Am” relies on a heavy drum beat to effectively create a triumphant aura as it flows into an impressively serene guitar solo that shows Nolan’s strength on the instrument.

Catching most listeners by surprise, Nolan does an impressive cover of a 90’s classic that many will recognize but may have trouble identifying. Originally performed by the Primitive Radio Gods, “Standing Outside a Broken Phone Booth With Money in Hand” is fantastically interpreted by Nolan as it brings on heavy amounts of nostalgia. It is dark and distant, finding a brooding piano to compliment Nolan yelping, “I’ve been downhearted baby / I’ve been downhearted baby / Ever since the day we met.” Honestly, no one can say they didn’t miss that song, and you can thank Nolan for bringing it back.

Height, though highly unwarranted, is an average album at best. While there are several songs that need to be discovered, the blemishes are too noticeable. There is not one song that will stick around in your regular musical rotation, but there are certainly enough good songs to keep the album in mind for a one-off listen here or there.

--Andrew Beam