John Nolan – Sad, Strange, Beautiful World

John Nolan may be best known for his time in seminal emo-rock act Taking Back Sunday, but to many, his most defining work came out of his humble, now defunct indie offshoot, Straylight Run. While Taking Back Sunday was big and unapologetically bold, Straylight Run was tactful and inventive. Straylight Run’s current hiatus was a loss for those looking for something on the approachably artful side of the spectrum (The Needles The Space was a stroke of brilliance). Thankfully, those shedding tears were short lived with his decision to further pursue a solo career that preserved the spiritual essence of his Straylight Run persona.

It’s been six years since John Nolan’s solo debut, and while the output has been steady in the form of a few EPs and smaller projects, his sophomore full length, Sad, Strange Beautiful Dream feels like a long time coming. Nolan harnesses his knack for spinning a catchy tune and applies it to a lush, confident acoustic soundscape. Even without the razor riffs typical of Taking Back Sunday’s biggest hooks, Nolan’s veteran songwriting knowhow make for big, catchy tunes that embrace their subtle elements. “American Nightclub 1999” sets the tone with a tuneful acoustic intro with Nolan singing in his breezy Straylight Run style as he describes the picture of feeling all alone in a room full of people. “Lights are flashing there’s a fat guy dancing in the middle of the floor, he’s all alone but he’s having more fun than me,” describes Nolan as he paints a picture of being outsider amongst social outcasts. A casual backdrop of violin strokes and crisp acoustic strums culminates in the album’s first stick in your head chorus.

From here Nolan develops a healthy trend of balancing alluring instrumentation with lively scope of character.  For instance, a track like “Street Robbery Blues” rattles along with a big bluesy swagger in its step as its approaches a swanky choral high.  By comparison, “Drinking Your Way To Confid” features a swelling emotional chorus followed by the subdued piano verse touting Nolan at his most vocally energetic.  The contrast makes for a climax that lands with all of its intended force.  What should catch listeners off guard is how heartfelt Nolan’s lesser tempos resonate.  Take the slow moving violin supported piano ballad “I’ll Be Home Soon.”   Even in such minimal moments Nolan can strike up a catchy chorus that moves beyond superficiality and begs an emotional connection.   Perhaps most strikingly, “I Will Be Released” finds Nolan armed with a mere acoustic guitar and gradually integrated percussive elements. After sitting at a low level for most of the track’s opening, the chorus and post-bridge hand-clap aided harmonies embody the heart on his sleeve Nolan that you’ve come to expect.

Other stand outs aren’t what you’d typically expect from Nolan’s camp but succeed every bit as well.  “How Much” embraces a downtrodden intro heightened by a “dusty rhodes” country style accented harmonica and slow burning anthemic chorus presented in a contrasting dichotomy.  Also of note, “It’s The End Of The World” offers up a an off kilter vibe, washing Nolan’s typical acoustic lure with a certain darkness as he describes a variety of doomsday scenarios as described by unsuccessful cult-like followings over past decades.

John Nolan may have joined up with the Taking Back Sunday crew once again, but his creative independence remains one of a kind in his solo work.  Sad, Strange, Beautiful Dream hits the mark when it comes to striking a balance between acoustic ingenuity and landing strikingly bold choruses.  Easily one of Nolan’s most worthwhile endeavors.