Friday 18th October sees the release of Ain’t No Saint, the much anticipated third album from acclaimed Peterborough quartet Austin Gold. Renowned for creating lavish soundscapes that range from riff-driven rockers through irresistible hook-laden earworms to weighty ballads, their ascension now continues with each piece heaving with elaborate vocal and musical harmonies.
Austin Gold – Ain’t No Saint (TMR Rock Records)
Release Date: 18 October 2024
Words: Sophie James
“The new album reflects a transformative period marked by personal challenges for me particularly,” frontman David James Smith told us. “Each track is a heartfelt expression, a diary entry, capturing moments of struggle and triumph. It’s some of my most personal work to date.”
Things get underway with the title track, commencing all delicately atmospheric (think Floyd or Straits) before building into a hugely compelling modern dynamic rock anthem. Stadium-grade material, for sure.
“Tortured at the crossroads of desire & restraint. Knowing that the fear is always near, you Ain’t No Saint.”
Even at this stage, it’s difficult to avoid making comparisons with a very well-established and popular act, but such is their inherent talent and the standards they adhere to, Austin Gold easily match them in terms of quality.
“Wish it was ’76, had a brand-new soundtrack and not a heart to fix.”
Above a driving riff and Adam Leon’s swirling ‘Hammond’, The Wire Defines evokes images of days past while choruses do not come bigger than this.
As David says, “It’s about finding solace in memories and discovering the strength to change our present.”
Hell Or High Water launches with a colossal riff before easing into a slower, funky, yet grinding groove with another of those outrageously melodic and catchy choruses that hits ‘that’ spot. A consummate piece of composing and arranging.
“What’s behind those eyes? Your smile would end a fight just passing by.”
Not Enough begins with one of those hugely melodic ‘chiming’ riffs, which promises so much and does not disappoint. This is all about the inability to see what you truly have, displaying a more restrained approach, and the chorus harmonies are just sumptuous.
“Do you sleep with a gun under your pillow, or do you still have a dream?”
With its roots firmly embedded in the ’70s, characterised by a grinding riff, hand clapping, and foot-stomping feel, Down & Outs is destined to become a firm live favourite. Such a delicious refrain, too.
“There’s no home in my soul, complete me or just let me go.”
No rock album would be complete without an epic power ballad, and End Of Our Song is just that and quite possibly the album’s standout. The opening laid-back acoustic and ‘Freebirdesque’ Hammond set the mood while the vocal harmonies match the Eagles at their best. The solo is a thing of the utmost restrained beauty.
As it heads towards its finale, it builds so majestically, David opening and pouring out his heart on the above line while the guitar soars in full emotive and expressive response. A potential live tour-de-force.
“The future is but chaos, it seems.”
A straight-ahead rocker, Hang Fire will no doubt attract further comparisons.
“Tempers frayed, sever ties, panic like a butterfly.”
An electronica and quickening marching beat intro on Hold The Anchors gives way to a hugely seductive riff whichcertainly gets the bonce nodding. The sumptuous slide of the solo is unexpected and truly enhances the overall arrangement.
“And you’re building bridges higher, just to watch them all get burned”.
It’s foot to the floor again on the addictive, anthemic Callin’ Time.
I must mention here the flowing, almost narrative nature of Lee Churchill’s bass. Never to the fore, but so wonderfully expressive just below the surface.
“Two lonesome dancers, spinning the floor, tired of wanting more.”
Album closer Return gives End Of Our Song a damn good run for its money. Invoking a potent scene of drowning sorrows in a nocturnal basement bar, this is another huge, impassioned ballad.
David’s soaring vocal, awash with emotion, brings the despairing vista to life, while the climactic coda scores the atmosphere impeccably.
Pour me another whisky on the rocks, with despondency, Sam and play it again.
For those investing in expanded editions of the release, three bonus tracks in the form of the impelling Walking In Half Light, Death Boulevard and the gargantuan riffed Canyons are included.
Ain’t No Saint is a supremely well-captured and crafted album which oozes quality throughout. Andy Hawkins’ open, well-defined production allows every nuance the freedom to blossom. With textures and hooks aplenty, it keeps drawing you back time after time.
While the synchronicity between all the participants is meticulous, the eminent vocals and polished guitar of David James Smith are so perceptible and expressed enchantingly throughout.
Those who appreciate the vivacity and virulence of artists such as the Foo Fighters (whose influence is hugely evident throughout – in case you were wondering) will hopefully embrace and adore this album. One hopes that this release could finally lead to a breakthrough.
Austin Gold are a thoroughly captivating live act too; please see my review of last Autumn’s Wolverhampton gig here. Please do catch them on the road when they appear on your manor.
