Dylan Doyle’s new album Nowhere, released on July 24th, marks a distinct departure from the artist’s signature blues rock style, thereby reinventing himself and his sound through a wide array of genre exploration and amalgamation. While I love blues rock, I think it’s difficult to sound original as it’s tough to avoid resorting to 12-bar blues structures and pentatonic scales, which can be pretty constraining. As a listener, I find it can become quite tedious–after about three songs, I’m usually like, “Okay, I’m good.” With that said, Doyle successfully clears the hurdle of genre limitations by going above and beyond them, mixing his undeniably impressive guitar chops with elements of soul, R&B, funk, and even some tinges of country. The record is a journey full of unexpected yet welcome twists and turns that’ll keep you engaged for the entire ride.
Doyle has been in the game for a while. Having been somewhat of a prodigy, he was inducted into the NY Blues Hall of Fame at only 14 years old. Nearing 30, he now plays about 200 shows a year on average. His ambition and skills have deservedly earned him a devoted fan base throughout the East Coast and Midwest. The opening track “Running In The Night” has a classic blues rock vibe, reminiscent of Jimi Hendrix’s final group, Band of Gypsys. The rhythm will get your head boppin’ and the solos will get your face stankin’, all complemented by Doyle’s slightly raspy yet soothing, soulful vocals. Although, I can’t help thinking of this song as a sort of Trojan horse–I mean, strategically it’s a smart move, as the first song serves to lure his listeners in with a familiar sound, only to unleash some unforeseen tricks once they’re within his walls. Blues purists may become disgruntled by what they’re about to hear, while those who embrace genre exploration, like myself, will be pleasantly surprised.
The next track “Come Rain Or Shine” takes a detour through an R&B/yacht rock sound, as if The Isley Brothers and Steely Dan fused together. The atmosphere feels like a smoky jazz bar. A general theme throughout the album is the contemplation of love, and this song is about staying consistent, loyal, and devoted despite the wavering nature of our inconsistent circumstances. Then comes track 3, “Lord Send Me Someone To Love,” introducing gospel elements and slowing down the tempo as Doyle croons and pleads for the perfect lover to be sent to him from above. The church organ gives the song a comforting warmth. I feel like the strategy of the “slow-burn build-up” is a lost art–however, this song takes its time in a satisfying way, establishing the foundations before the drums kick in at around 1:30, elevating the track to heights that wouldn’t be nearly as appreciated had the band rushed to give listeners the catchy hooks at the get-go. Patience is key–especially when you’re waiting for the Lord to send you someone to love.
The title track “Nowhere” may be my favorite song on the album. The upbeat, funky, reggae rhythms and squiggly, wah-wah guitar are evocative of The Police (who I recently did a long overdo deep dive on, so hell yeah, I’m on board). I think this is a great song to serve as the exemplar for the record as a whole not only because the lyrics clearly illustrate the overarching concept of the album, but also because the sonic qualities define Doyle’s new sound and direction. While guitar solos are–or were–kind of “his thing,” he doesn’t overdo it–the sprinkling of riffage throughout is refined and not overindulgent. Doyle sings, “Nowhere’s a place where I can smile / Remember what it’s like to be a child / Nowhere’s a place where I can laugh / Where I’m home, not just the past / Nowhere’s a place I wished for in a prayer / And I’m not alone there.” My interpretation is that “Nowhere” is a sort of zone of contemplation wherein Doyle assesses his relationship with love and time, and attempts to make sense of these ambiguous abstractions.
“If I Give You My Heart” displays the artist’s more tender nature. The tempo here is slower than the previous song, as if to take a moment to reflect. Doyle introduces some soulful country elements on this track. The mood is somber and melancholic, and the lyrics are confessional: “We don’t like the same music / And we don’t like the same drinks / And we don’t like the same poets / Maybe it’s better that way / ‘Cause we both like how it feels / In each other’s arms / So if I give you my heart / Tell me, what’s the harm?” I actually woke up this morning with this chorus stuck in my head–the melody seeps in easily and stays with you.
The song that sticks out to me most on the B-side is “Sideways In The Suez,” the sole instrumental track on the album. It’s a fusion of prog, funk, jam–the slap bass is wild and the grooves are irrefutable. I love the ’80s-style synths swapping solos with the ripping guitar. The track sounds like a cross between Genesis and Jamiroquai. I mean this in the best way, but this song reminds me of something that would be on a soundtrack of video games I played as a kid, like Sonic the Hedgehog (think of the “Chemical Plant Zone” level). I’d love to hear more songs like this from Doyle on future records.
The album ends on a pensive note. The last track “Hold Me” is slow and sweet. Tragically beautiful piano opens up the song. Doyle softly sings, “I love you more than you know / And more than I show.” What’s percolating under the surface, in Doyle’s realm of “Nowhere,” is gradually coming to light. I see this album as an attempt to unveil the artist’s true self and communicate it clearly to achieve a more thorough understanding. While Doyle’s blues rock roots are still evident throughout the record, those foundations serve as the bedrock on which he develops and builds a more distinctive and dynamic sound and self.
Dylan Doyle’s social and streaming links:
Listen to the album:
Catch Dylan Doyle live at an upcoming show:
- 8/6 – NYC Release Party – Club Groove – Manhattan, NY
- 8/7 – Hometown Release Party – The Falcon – Marlboro, NY
Check out Dylan Doyle’s blurb in “DIY Deliverance: Mining for Hope in the Seemingly Hopeless Music Industry.”
-Review written by James Kwapisz
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