Sami Fitz - Some Hills Were Once Islands

Sami Fitz

Some Hills Were Once Islands
self-released; 2024

By Matt Jensen

Sami Fitz’s debut album, Some Hills Were Once Islands, is a sprawling, introspective mosaic that threads ambient drones, folk sensibilities, and experimental textures into a meditation on grief, hope, and resilience. The London-based British-American artist carves out an evocative space where loss isn’t a static state but a fluid force, shifting between love, renewal, and a tender acknowledgment of life’s quiet beauty.

The opener, “Changes,” sets the tone with a dynamic mix of country-tinged vocals, exploratory percussion, and an emotive, cinematic build that swells into a lush, expansive outro. It’s a bold introduction, immediately drawing attention to Fitz’s ability to balance intimacy with grandeur. On “Home,” arpeggiated synths and airy pads imbue the track with an introspective yet hopeful energy, reinforcing the album’s penchant for transitions into climactic, almost orchestral sequences.

“Time” unfolds with a dynamic arrangement that feels carefully sculpted yet effortlessly organic. The track opens with gentle, introspective piano chords paired with Sami Fitz’s tender, emotive vocals, which find an ideal balance between fragility and power. The instrumentation builds gradually, as subtle orchestral swells emerge in the background, creating a sense of expansive depth. There’s a natural grace to the progression, like watching a rose slowly bloom in real time, each petal revealing itself with deliberate beauty. The swelling strings and layered textures elevate the track’s emotional resonance, making it feel both intimate and grand, a hallmark of Fitz’s approach throughout the album.

“Öskjuhlíð” offers a Sigur Rós-esque interlude, a moment of stillness amid the album’s sweeping emotional arcs. The meditative “Blue” lingers in a tranquil space that I found quite beautiful and serene, while “Think of You” shifts the tone with a melodic, infectious warmth that stands as one of the record’s most accessible moments. “Wait” pairs cinematic guitar work with a whimsical undercurrent, while “Hope” mirrors its title with another dramatic, hopeful crescendo.

“Leverton Street” injects a sense of buoyancy, a rare straight-ahead moment of joy on the album, before the closer, “So Sweetly,” ushers listeners out on a haunting, dreamlike note. It’s a grand finale, steeped in lush production and a melancholic air that lingers long after the final note.

​What’s striking across Some Hills Were Once Islands is the breadth of its sonic palette. Each track is its own ecosystem, brimming with intricate production and diverse instrumentation, yet the album maintains a striking coherence. Fitz’s emotive vocals anchor the collection, weaving through its layered arrangements with both fragility and strength. The album feels like both a deeply personal statement and an invitation to explore the nuances of its lush soundscapes, rewarding listeners with new revelations each time. It’s an exceptional debut, one that establishes Fitz as a daring and deeply emotive voice in modern experimental folk.

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