Austin Gold – Ain’t No Saint
British rock quartet Austin Gold suitably impressed across their first two studio albums (and self-titled mini-album) which nodded to, and incorporated elements of, contemporary blues rock (most noticeably on debut release Before Dark Clouds), classic rock and hard melodic rock.
Those latter traits coalesced to excellent effect on 2022’s Those City Lights, which included more than its fair share of semi-anthemic pieces.
The same can be said of latest album Ain’t No Saint, a bold and powerful ten track (thirteen on the Deluxe CD edition) offering from David James Smith (lead vocals, guitar), Lee Churchill (bass), Adam Leon (keys/ backing vocals) and James Pepper (drums).
Ain’t No Saint also steps things up a notch or two; it’s amps to 11 on a number of tracks and there’s meaningful, personal depth afforded to many of the lyrics, which come courtesy of primary songwriter David James Smith (personal challenges have made this Smith's most personal work; the results are some of his most impassioned and emotive vocals to date).
Nor does it hurt that the album sports both a big (but spacious) production and well-balanced mix from Andy Hawkins.
The title track opens the album in atmospheric, Floyd-esque fashion before the voice of David James Smith leads the song through a slow building, up-tempo section.
The song then kicks into riff-led, high-powered overdrive that nods to the likes of the Foo Fighters, Biffy Clyro and Porcupine Tree at their most intense.
Following number, 'The Wire Defines,' is a riff led, organ backed hard melodic rocker that Thunder would have been proud to call their own.
That it also sports a tasty and well-placed guitar solo from David James Smith (as do most of the numbers) just adds to the song’s weight.
Those latter traits coalesced to excellent effect on 2022’s Those City Lights, which included more than its fair share of semi-anthemic pieces.
The same can be said of latest album Ain’t No Saint, a bold and powerful ten track (thirteen on the Deluxe CD edition) offering from David James Smith (lead vocals, guitar), Lee Churchill (bass), Adam Leon (keys/ backing vocals) and James Pepper (drums).
Ain’t No Saint also steps things up a notch or two; it’s amps to 11 on a number of tracks and there’s meaningful, personal depth afforded to many of the lyrics, which come courtesy of primary songwriter David James Smith (personal challenges have made this Smith's most personal work; the results are some of his most impassioned and emotive vocals to date).
Nor does it hurt that the album sports both a big (but spacious) production and well-balanced mix from Andy Hawkins.
The title track opens the album in atmospheric, Floyd-esque fashion before the voice of David James Smith leads the song through a slow building, up-tempo section.
The song then kicks into riff-led, high-powered overdrive that nods to the likes of the Foo Fighters, Biffy Clyro and Porcupine Tree at their most intense.
Following number, 'The Wire Defines,' is a riff led, organ backed hard melodic rocker that Thunder would have been proud to call their own.
That it also sports a tasty and well-placed guitar solo from David James Smith (as do most of the numbers) just adds to the song’s weight.
'Hell Or High Water' opens as a bluesy, moody downtempo before an emotive guitar solo sets up the repeated chorus tag ("just gotta do it, you’ve gotta get through it, take the pain they’re coming, hell or high water") and almost obligatory "woah-oh" support.
Lighter contrast is then provided by 'Not Enough.'
A jangly pop number that lyrically calls to those who just can’t see what they already have, the song is part melodic charm, part six-string chime, tied together with great harmonies.
The slower, pulsating and slightly southern rock blues of 'Down & Outs' is another with impressive harmonies and a great melodic chorus. The song’s purposeful beat and clap-along sensibilities should also make it a live winner.
Ballad 'End Of Our Song' is a true highlight of the album.
Simple and spacious in arrangement it may be, but that just makes the song, and lyric, even more impacting. David James Smith delivers a genuinely impassioned vocal (complemented by tastefully understated guitar remarks) before vocally soaring toward song’s end with the heart rendering line "there’s no home in my soul, complete me or just let me go." The song then closes out with Smith’s crying in sympathy solo.
'Hang Fire,' which riff-rocks and melodically bops (on its Squeeze-like verses) in equal measure, also offers up a huge earworm chorus and a great, wiggly guitar solo on the big beat bridge.
The rock blues swagger and background electronica of 'Hold The Anchors,' bolstered by a wicked little slide solo and an impacting chorus, is yet another highlight.
The rockin’ and contemporary 'Callin’ Time,' with atmospheric verses, emphatic chorus and a return of the "woah-oh" chants for the fadeout is another winner, but the fact is every song here stands strong.
'Return' closes out the album in powerfully emotive fashion.
Sounding like a bluesy Pink Floyd (no bad couplet) the progressively shaped, climactic piece bears its soul through David James Smith’s most impassioned vocal of the album, which lyrically lifts from despair to comfort ("when I’m alone in my disgrace, to you I return").
Smith’s short, mid-song solo plays in sympathy to the song/ lyric, but his longer outro solo, which sits atop a huge swell of sound before the slow fade, is as impassioned as his vocal.
Austin Gold have a nice little piece of the rock pie, but there is absolutely no question they should be dining at much bigger tables.
The music business, or rather what’s left of it, certainly ain’t no saint, but it’s going to be a sure-fire sin if Austin Gold don’t get promoted to the British Premier Rock League, courtesy of what is the rock album of the year.
Ross Muir
FabricationsHQ
Purchase Ain’t No Saint (CD, Deluxe CD and Coloured Vinyl) at:
https://austingold.co.uk/product-category/aint-no-saint/
Lighter contrast is then provided by 'Not Enough.'
A jangly pop number that lyrically calls to those who just can’t see what they already have, the song is part melodic charm, part six-string chime, tied together with great harmonies.
The slower, pulsating and slightly southern rock blues of 'Down & Outs' is another with impressive harmonies and a great melodic chorus. The song’s purposeful beat and clap-along sensibilities should also make it a live winner.
Ballad 'End Of Our Song' is a true highlight of the album.
Simple and spacious in arrangement it may be, but that just makes the song, and lyric, even more impacting. David James Smith delivers a genuinely impassioned vocal (complemented by tastefully understated guitar remarks) before vocally soaring toward song’s end with the heart rendering line "there’s no home in my soul, complete me or just let me go." The song then closes out with Smith’s crying in sympathy solo.
'Hang Fire,' which riff-rocks and melodically bops (on its Squeeze-like verses) in equal measure, also offers up a huge earworm chorus and a great, wiggly guitar solo on the big beat bridge.
The rock blues swagger and background electronica of 'Hold The Anchors,' bolstered by a wicked little slide solo and an impacting chorus, is yet another highlight.
The rockin’ and contemporary 'Callin’ Time,' with atmospheric verses, emphatic chorus and a return of the "woah-oh" chants for the fadeout is another winner, but the fact is every song here stands strong.
'Return' closes out the album in powerfully emotive fashion.
Sounding like a bluesy Pink Floyd (no bad couplet) the progressively shaped, climactic piece bears its soul through David James Smith’s most impassioned vocal of the album, which lyrically lifts from despair to comfort ("when I’m alone in my disgrace, to you I return").
Smith’s short, mid-song solo plays in sympathy to the song/ lyric, but his longer outro solo, which sits atop a huge swell of sound before the slow fade, is as impassioned as his vocal.
Austin Gold have a nice little piece of the rock pie, but there is absolutely no question they should be dining at much bigger tables.
The music business, or rather what’s left of it, certainly ain’t no saint, but it’s going to be a sure-fire sin if Austin Gold don’t get promoted to the British Premier Rock League, courtesy of what is the rock album of the year.
Ross Muir
FabricationsHQ
Purchase Ain’t No Saint (CD, Deluxe CD and Coloured Vinyl) at:
https://austingold.co.uk/product-category/aint-no-saint/