Life's "Little Hell"

Many of us would do anything to feel a sense of salvation when we experience a little Hell in our lives. It could be as simple as solace, empathy, or hope during our times of turmoil, and for those of us who have been waiting for an album for that sense of identification, the wait is over. With the release of City and Colour’s fourth album, Little Hell, Dallas Green explicates the various struggles the universe provides, and it’s through his songwriting, unique voice, and collaboration that he continues to authenticate himself as an artist yet reveal the deeper discourses of living.

Starting his career with the post-hardcore rock band Alexisonfire, Green set out to produce a solo acoustic project known as City of Colour. Four albums later, Little Hell, maintains what could be considered Green’s true image as an artist. As the soul writer, composer, and vocalist for the album, he sings of different trials and tribulations present in the world. His sound is much different than that of Alexisonfire. The mood throughout his entire album is very melodic and calming as compared to the scream-o/rock combination he was once accustomed.  

It’s evident from the very beginning with, “We Found Each Other in the Dark” that Green is a poet. He sings of finding someone in the most abject conditions, and living thereafter. But whether it’s his writing of, “Natural Disasters” telling the tale of broken homes caused by natural disasters and the economy, “O’Sister” with having to witness someone’s depression and downfall, or “Northern Wind” a classic love song of how someone should make us feel, he captures the many evanescent pains of the heart.

Although the text of his lyrics is enough to apprehend anyone’s attention, it’s the different aesthetics Green uses that discerns his music from others. There’s a warm, almost vintage sound throughout the album that’s created by recording on an analog tape as opposed to using high-tech computerized systems. It’s a simple method that establishes a specific mood for the album but also accentuates Green’s unique falsetto voice. It’s this particular sound that helps keep his authenticity but also bewitches listeners into wanting more.

The combination of Green’s voice and method of recording on analog tape is enough to give his album an entirely new sound, but the originality of Little Hell doesn’t stop there. He values the idea of simplicity. After all, City of Colour is an acoustic project, and he reminds us of that with songs like “Silver and Gold” and “Northern Wind” which includes the accompaniment of Cellist Anna Jarvis but still focuses on guitar with minimal harmony in the background. The lucidness of the songs, like in many cases, allows the listeners to appreciate the artist’s talent as a musician and focus on the message. With most of his songs, Green is simple yet powerful with his lyrics that include everything from losing yourself along your journey, to warfare, to abandoned love, and love yet to be found. These concepts are major conflicts in everyone’s lives, yet he portrays them so simply, revealing how they can be the most devastating.

Of course, it’s not necessary to keep songs simple in order to establish a greater meaning. Green should be credited for his ability as a composer. “Fragile Bird” uses a collaboration of electronic guitar, drums (Nick Skalkos), and Misha Bower’s harmony to produce an edgy song describing a dysfunctional relationship.

It’s difficult to determine if Green meant to direct certain tracks at specific people with songs such as, “Weightless” where he sings of someone who carried his world then picked up and left, or if he wrote about general “Little Hells” he knew the majority shared. But with the mix of different sounds that range from a simple acoustic “We Found Each Other in the Dark” to more of the Indie rock like “O’ Sister” he’s able to expand his fan base, and establish an iconic sound that can be associated entirely with him. The calming tone of the album can be compared with a number of genres including: Indie Rock, Alternative, or even Pop/Rock, and it’s the diversity of the songs that enables City of Colour to reach a variety of audiences.

With artists constantly being influenced by one another’s work, and numerous alternative rock musicians on the rise, it would seem like a daunting task to produce an inimitable album. Yet, Green has managed to differentiate himself as a musician, indefinitely solidifying himself as an artist with his exclusive vocals and acoustic grandeur. At the same time, it’s his discernible characteristics that also make him one of many. His music is recognizable like that of John Mayer, and his voice distinguishable like that of Norah Jones. What makes Dallas Green’s acoustic project, City of Colour, and particularly Little Hell, stand out is his transformation as an artist. It’s his ability to adapt to a different genre and in doing so give listener’s a different medium as well as provide an authenticity into Dallas Green. In a world where images are altered by production and money, it’s refreshing when an artist has the audacity to do something different. 

Check out more! -> City and Colour