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After a decade in the indie pop spotlight as a lead guitarist and singer for Taking Back Sunday and Straylight Run, singer/songwriter John Nolan is releasing "Height," a solo album that takes the listener through the emotional highs and lows of life in the Midwest and on the road. Available October 27 from Doghouse records, "Height" is sure to appeal to fans of both bands and earn mentions as one of the year's most exciting solo debuts.

Recorded at his new home in Lawrence, Kansas, during a six-month span that included tours of the U.S. and Australia, the Long Island native's solo effort showcases his impeccable pop instincts, complex songwriting and musical versatility. "Height" contains a depth and resonance rarely found in home-recording projects, thanks to the production talents of Mike Sapone (Taking Back Sunday, Straylight Run, Brand New) who was inspired to contribute his own drum tracks upon hearing Nolan's songs.

"Height" is an album in the true sense, with each song contributing to the overall flow and balance of the musical narrative. "Til It's Done To Death" turns its title into a rallying cry with the chorus: "Hold your tongue boy, hold onto your breath, it's not done til it's done to death," setting the stage for a tour de force through landscapes of doubt, faith, hope and resolve.

Fans of Straylight Run and Taking Back Sunday will find themselves on familiar territory with "It Takes A Long Time," a pensive number that unfurls its lyrical confessions and rapid guitar strumming at the pace of a classic Western. "I Don't Believe You" stands out for its up-tempo beats and direct lyrics, while "Here I Am" floats along pleasantly through six-plus minutes of dreamlike sound textures and intricate guitar work.

A cover of the Primitive Radio Gods' "Standing Outside A Broken Phone Booth With Money In My Hand" fits right in to the mood of the album, with Nolan replacing the B.B. King sample with his own plaintive, echoed vocals. In Nolan's capable hands, the song (and certainly the title) sounds even more poignant now than it did in 1996.

Great songs often derive their power from conflict, something Nolan's music is never short on. Tensions between comfort and isolation, home and displacement, salvation and despair come to life throughout "Height," giving the album a wide emotional as well as musical range. "Screaming Into The Wind" is an emotionally charged response to the disquieting expanses of the Midwest, with a breathy vocal pattern, Phil Selway-worthy bass line and driving snare building to a cathartic, almost dancy romp. "Keep Calm And Carry On" pulls out all the stops in John's home-recording arsenal, with percussion, wurlitzer, synth, organ and multi-tracked vocals propelling a chorus that manages to sound both sinister and reassuring.

"I Won't Ever Be There" connects private anxieties with the larger sorrows of the "the derelicts and debutantes with so much in common, the pedophiles and parents who are all too human, the churches on the corner where they beg forgiveness." The song arrives at a near state of grace with visions of a savior who appears in dreams, only to see them fade again, letting doubt encroach on the familiar promises of salvation.

Rather than allow the listener to sink under the weight of the album, the final track reassures us that it's all right, that it's best to shake it off and tell yourself "Not To Let Go." Buoyed by John's compelling pop hooks, honest lyrics and sparkling instrumentation, "Height" always manages to rise above the doubts and neuroses it chronicles, transforming them into an engaging listening experience that is only enriched upon multiple listens.

For a complete list of tour dates and to sample songs from the album, please visit www.twitter.com/johnnolanmusic, www.myspace.com/johnnolanmusic, www.johnnolanmusic.com.