He might only be four albums into his solo career under the name City and Colour, but former Alexisonfire member turned solo singer songwriter, Dallas Green, would have to try really hard to put me off his musical output. Green has always had a subtle, laid back relate-ability to his solo work, both in terms of the dusty, melancholic Americana that forms much of the instrumentation and the calmly observational yet poetic style of songwriting. The Hurry and the Harm is no different, once again using familiar musical tools and re-teaming with producer Alex Newport — Dallas Green has created another hearty, grounded and often beautiful body of work.
I’ve seen various sources stating that this is the album in which Green has solidified himself or legitimately marked himself as a bonafide solo artist. As nice as it is to hear more support for City and Colour, to me, the project’s been pretty solid from day one. If anything, this record acts as proof of that continued state. It might not see the singer make any major progressions, but it doesn’t regress either. In essence, this is another City and Colour record, which is nothing short of wonderful.
The one significant change found within The Hurry and the Harm is Green’s ability to embrace the darker tones that have often underpinned his material in the past. In one of many album highlights, the track “Two Coins” showcases Green’s ability to floor you with just one line, as the Canadian native declares he’s “always been dark with light somewhere in the distance.” This notion not only rings true but also creeps in tonally throughout the album, as Green meditates and contemplates his own mortality. Although the emotional marks of this cloudier subject matter leave bruises rather than deep lacerations, it gives you an idea of just how profound and powerful it would be to see City and Colour fully submit to the dark side.
Despite not fully enveloping himself in the dimmer streaks that inhabit album number four, Dallas Green does a remarkable job at reminding those on board why they support his endeavors, whilst simultaneously bringing a host of new-comers into the fold. The Hurry and the Harm might not be his most striking, profound or even his most accomplished work to date, but it once again see’s the musician show plenty of heart within his intricate details and dreamlike melodies. The latest work from City and Colour is a loving reminder of why he continues to be adored.
