City and Colour - acclaimed singer, songwriter and performer Dallas Green - is gearing up for the release of his highly-anticipated new album The Love Still Held Me Near this March 31 via Still Records, an imprint of Dine Alone Records. The Love Still Held Me Near is a deeply personal and cathartic offering, and the most sonically expansive in the celebrated City and Colour canon. Over the course of six studio albums, Dallas Green has compiled a canon ripe with songs born of adoration and devotion amassing a legion of fans worldwide and garnering him 3 JUNOs, including two Songwriter of the Year awards, plus 1 Triple Platinum, 2 Double Platinum, 1 Platinum, and 1 Gold certification at home in Canada. Alongside these accomplishments, Green has been awarded Platinum-certification for all four of Alexisonfire’s full-length records. City and Colour’s last studio album A Pill For Loneliness - released on Green’s Still Records, an imprint of Dine Alone Records - debuted at #1 on the Billboard Canadian Albums Chart, his 4th consecutive chart-topper in Canada. His previous #1 LP If I Should Go Before You made serious waves internationally debuting at #16 on the U.S. Billboard 200 Chart and #5 in Australia where Green’s LP Little Hell was certified GOLD. In 2014, Green collaborated with international superstar Alecia Moore (aka P!nk) on a new project titled You+Me. The duo’s acclaimed Platinum-certified first record, rose ave., debuted at #4 on the U.S. Top 200 Chart, #1 in Canada, #2 in Australia culminating in memorable performances on The Ellen Show and Jimmy Kimmel Live. Green was personally invited by Alice in Chains to perform alongside Metallica, Korn, members of Soundgarden, Jane’s Addiction, Nirvana and other legendary artists when the Seattle quartet were honoured as the recipients of the 2020 Founder's Award from the Museum of Pop Culture (MoPop). In 2022, Green was honoured with the SOCAN National Achievement Award at the JUNO Awards in recognition of his philanthropic contributions to music education in Canada.

Intimacy rears its powerful head in the world of mmeadows. A true collaborative duo, Kristin Slipp and Cole Kamen-Green complement and balance one another in a way that speaks to the depth of their musical connection. On the auditory spectrum, the sounds they create are purposefully close and exposed. From the first seconds of “By Design,” the first song on NYC-based mmeadows’ first full-length Light Moves Around You, the warped and fluid chord progression holds your hand as you step onto the boat, lets you get your sea legs, and by twelve seconds in pulls you tight with a moment of total silence. Then a human breath. Then Kristin Slipp sings. Her words are concrete and liquid, with the words “pavement” and “waves” coming at you fast but never throwing you off. This music allows you in unapologetically, which is intimate as hell. A mutual respect and admiration for each other’s abilities is the source of this intimacy. Cole describes Kristin’s superpower as her mind-voice connectivity. The way she can hear a song and begin tracking the scale degrees of the melody by touching different parts of her hand. Kristin describes Cole’s superpower as an ability to zoom out and observe their attempts holistically, contextualizing their creations within the big picture. Inside the band, they balance one another. Outside, the two offer these gifts to others: Kristin is a member of Dirty Projectors, with writing credit on their 2020 release 5 EPs. Cole, as a sought-after instrumentalist, has crafted horn parts collaboratively with Beyonce, arranged and recorded for Harry Styles and Diana Ross, and performed with Laurie Anderson. Throughout the record Light Moves Around You, water imagery comes back again and again. There’s talk of the shore, fountains, rivers, the horizon, concepts that feel eternal and constant while shifting all the same. A paradox, if it wasn’t so visible in our natural world. Occasionally a change comes at you in mmeadows’ music that alters your foundation, and the shift can feel positively tectonic. Shifts of such magnitude, in the bottom disappearing from the beat, in the voice blooming from an intricate solo presence to a harmonized top shelf choral hook, in the appearance of a trumpet where there once was no trumpet at all, they give the listener the business with a wink of maturity that we are often hard pressed to find in this all-too-modern world. Pop music can become the instrument of a blunt force trauma, mixed as loud as possible, if the sub isn’t thumping the song isn’t worth a damn…bops upon bops upon bops. mmeadows’ songs aren’t bops. A bop is cheap. A bop is sliceable, frictionless. A bop gives it all away. No mystery to be sniffed out. No discovery to be discovered. The music of mmeadows is catchy as hell, but it’s intricate and subtle, and produced in a manner that tells the listener “hey, you’re a dynamic person, as are we. Now let’s dance it out.” And it works. Three dimensional art pop that makes you dance in the car when the 90’s grade put-your-money-on-it chorus of “Working On Me” hits. When the Stevie Wonder grade harmonic ascension in “Testify” makes you believe maybe not in something bigger, but that someone else can believe in something bigger. Magnitudes we can’t understand fully but know we can count on. Like the freezing northern waves of the Atlantic. Like the “don’t you swim in that” ripples of New York City's East River. At the molecular level, this water is all the same, same as when GZA raps in “Liquid Swords,” as when Chet Baker plays “How Deep Is The Ocean,” as when Celine Dion sings after we patiently waited three hours for the Titanic to sink. mmeadows is just the next in that rich lineage. Sonically. Cosmically. So dance through the mystery of it all and see if you don’t have a good time.