Even when you have been in the game making records for over twenty years, there are still quirky occasions when you can hook up with new admirers. The name Christina Martin appeared on my hinterland a few years ago without the necessary impetus to move into serious consideration territory. Meaningful interaction started to appear when taking a chance on her duo set with Dale Murray in the intimate backwaters of the Moonshine stage at this year's Maverick Festival. Her roots-infused style coupled with an engaging character and relatable humour marked the card for further investigation when opportunity presents. Almost two months on from that July evening, we have the latest Christina Martin album that possessed a magnetic appeal when lured onto relative listening devices. The intricacies of that intimate set were blown apart in the powerful whirlwind of a record with the most appropriate title. It is definitely a case of STORM by name and storm by nature as this full-bodied symphonic album powerfully directs a personal story.
From her East Canadian base and roots, Martin draws on the malleable parts of folk, pop and rock to meld a sound that runs straight to the safe haven of Americana. Throughout a compendium of eleven tracks, emotions ebbs and flows from an artist fully immersed and adept at drawing the listener into their world.
The energetic autobiographical opener 'Little Princess' sets the scene of a story itching to be told by taking us back to a childhood. The pace dips a little with the follow on track 'Stay With Me' that sweeps cinematically in heartfelt vocals and lyrics. The album is in secure surroundings by the time the third song sinks in with a thumping seductive opening to 'In Control' showing an assured demeanour in sound and sentiment.
The album moves in a different soundscape when keys and strings collide in the poignant ballad 'Some Days', an effort that simmers with incremental effect. Right at the heart of the record is the title track 'Storm', full of haunting appeal while achingly sung and bristling at the album's core. 'Inside Mirror' is the balancing track at the midway mark where a piano intro harks slight echoes of mystique.
A deep longing pours out of 'Meeting Place' with the second half advancing in the arms of a semi-powerful ballad. 'Austin' is the explicit standout song on the album where pop sensibilities and effective hooks embed the authenticity of trying to make it deep in the heart of Texas. The lyrics "... it was place I went to dream// ... all of those dreams became real' nail the moment. Stirring stuff that slips into the ripe rock ballad 'Meant to Get Us Through' emotively dripping in desperate optimism.
As we head towards an apt finale, the theme deviates from the personal to a third person. A camera rolling effect opens 'Still in LA'. which evolves into a more thumping contribution. If you want proof that all's well ends well, then look no further than 'Healed' bossing the finishing line. This track drawing comparison with American artist Lissie is a closer adorned with climactic tinsel.
Though taking all the music and lyric credit, Martin is more than blessed to share the producing role with sidekick Dale Murray, a key player on the record mainly on guitar but also piano and assorted instruments. It is likely that this duo format will return to the UK next spring for shows including a planned date at Thimblemill Library in the West Midlands. It will be interesting how they strip down the ultra produced entity to something more portable for the road.
STORM is a lavish offering capable of re-invigorating a career that can prosper at home, over the border and across the seas to lands packed with receptive potential. Christina Martin shows her mettle, drive and lashings of personal intent to send a record into the world rich with lure and cinematic poise.
