What do you get when you combine eloquent acoustic with heavy rock…in a desert? ‘Warm Waters’, the debut album by gifted newcomer Samantha Christine
Album Review: Warm Waters by Samantha Christine
For people who like…folk, grunge, prog rock
Don’t let the sombre intro to opening track Wait trick you into thinking that all this album has to offer is folky vocals and delicate acoustic strumming. While Samantha Christine’s debut album Warm Waters may have gentle folk in abundance, it also has much more to offer.
With Samantha Christine, a multi-instrumentalist singer-songwriter and actress, residing in a picturesque homestead in the depths of New Mexico; it’s perhaps no surprise that her debut album Warm Waters begins with gentle strumming and calm vocals. But even the opening track Wait brings an element of surprise with a full bodied chorus not too dissimilar from a Nirvana b-side.
The following track Vendée Globe flips the script and starts with heavy electronic guitar, transitioning into a tranquil verse. A heavy rock chorus then chimes in with weighty drums and bass guitar, certainly giving rock fans a great head banging opportunity.
The structure and sound of tracks like Cottonwood almost feel like prog rock, with atmospheric layers from all instruments building up to culminate in a bulky final verse. My favourite track is a toss up between this, first track Wait (I really like the way Samantha’s vocals carry the rest of the instruments in this one), and the next song Copperhead – which also has an ethereal final verse that really reminds me of The Pixies’ Where is my Mind. Taking this into account, fans of Alice in Chains, The Pixies, or Soundgarden are likely to enjoy this album; whilst also catering to any admirers of softer folk or acoustic rock.
Standalone verses consisting of only Samantha and her acoustic are certainly a staple here, but I love the way the drums and heavy guitar come crashing through in Little Resin Seal. It really adds an extra element to the album as a whole, and gives me a discerning reason to keep listening.
It’s certainly not a “quick fix” for any inpatient pop fan, or anyone that struggles to notice subtleties unless they’re shoved right in their face. People who aren’t well-versed in rock in general may think this album is fairly basic and uncomplicated – but if you listen closer there are many things going on here.
Maybe it’s no coincidence then that Closer is perhaps the most varied, complex, and developed song on the album. Samantha’s vocals really hit the mark on this one, complimented brilliantly by thumping kicks and a cool catchy hook in the chorus. I would not be surprised if this was playing all over New Mexican, Texan (where it was recorded), and maybe even national radio stations anytime soon.
Last track Saw You tricks you into thinking this one will just be an acoustic number, but doesn’t fail to include a heavier interlude right before the end with Samantha strumming her acoustic with conviction – pretty much summing up the album right there. This really is a beautiful contrast of heavy, yet sparse, and pretty, yet discordant music.
With me not being a die hard fan of grunge, heavy rock, or folk, I wasn’t instantly captured by this album. But, after playing it a few times over it really grew on me, and I actually really started enjoying and appreciating it after the second or third listen (meaning that surely won’t be my last). I started to hear the little intricacies, subtleties, and off-key moments that are obviously intentional. The production is polished, with Samantha seeking out renegade producer Bill Palmer, known for his off-grid and unique mobile studio techniques.
Samantha really takes you on a journey through the magical, yet inhospitable high desert landscape where the songs took their final form. Knowing that she actually played all instruments herself too, only proves that she really is a talented one to watch. I would recommend any fan of indie, rock, or folk to adopt some patience and lend a close ear to this one, it certainly deserves it!
