The Saint James Society The Saint James Society
Tee Pee
The Saint James Society are an Austin, Texas collective, all droopy hats and opulent jewelry, raven clad and ultra rad, who are just as likely to be selling fragrances at a desert bazaar as they are pushing garage psych in a dimly lit back room full of stony, armless idols. Thankfully, we get the latter (although it won’t hurt if you want to envision the former too), and despite the fact that their self-titled debut is but a four-song EP, it oozes with enough mystic mojo to melt the moon. Like a switchblade hypnotist with an Edgar Allen Poe mind, The Saint James Society taunt you with their BEAT, a tell-tale rhythm that drives the entire EP so that the acid drone and dark fuzz of its pulsing quartet (“Reflections,” “Of Silver and Gold,” “The Ballad of the White Horse,” “The Devil, An Angel, and a Broken Window”) fills up the very marrow of your bones. It’s a moving (dare I say sexy?) trip, equal parts style and sound, and will surely find favour with fans of Black Mountain, Quest for Fire, The Black Angels, and The Black Rebel Motorcycle Club, as well as restless sinners and the terminally cool.
Check out the video for “Reflections” from The Saint James Society!
This album, Dixie Witch’s fourth, with its gold chrome letters on crushed black leather, is the simplest, most uncomplicated, and appropriately textured statement the band could make concerning their return after a five year absence. As if anticipating the inevitable question, ‘Well, what are you going to do now?’ they’ve just gone and shrugged and said, ‘Let it roll, motherfucker!’ With all due respect to the Small Stone bands who’ve already released albums this year, and many condolences to the ones yet to come, this here is the Olympic pinnacle, and the trio of long-toothed Texan troublemakers have stormed Zeus’ Godly realm and confiscated his throne. Armed with an arsenal of lightning bolts and cloaked in the kind of invincibility you can only get from a mountain high, Trinidad Leal, Curt “CC” Christenson, and new guitarist Josh “JT” Todd Smith now seem to hold dominion over all things ROCK; their Southern stoner sound, once drenched in the earthly confines of mud and fuzz, has found a magical, heavenly edge. It’s still every bit the beast Smoke & Mirrors is, but they’ve elevated the power and melody to rocket-fueled levels (and left out the ballads), making Let It Roll as much a supreme n’ sizzling cock rock record as it is a boogie n’ blues truck stop tango drenched in AC/DC, Lynyrd Skynyrd, ZZ Top, and Alabama Thunderpussy influences. I suppose Let It Roll has the potential to piss off anyone not enamored with a polished production, but if deliciously dirty dynamics and majestic riffs are your bag, you’re in for one hell of a treat.
I’ve written about more Texas punk bands this year than I ever thought I would, really, so if I’m going to do it again, I might as well take on the granddaddy of ‘em all, the Riverboat Gamblers, whose new four-song EP, Smash/Grab, is near eight minutes of pure soil n’ snot pop that only they can deliver. In fact, what it really delivers is that old school Gamblers sound we haven’t heard since 2003′s Something to Crow About, that raw, loose, up-tempo ribaldry and shout-along savagery, which ought to wash away any uneasy feelings you may have had toward the commercial leanings of 2009′s Underneath the Owl. Each of the songs here (“The Ol’ Smash and Grab,” “Parasite Friend,” “Maggie Lea,” “Anything But You”) ooze with the manic energy these mavericks have been known to consistently unleash on stage, which means there’s no bells, no whistles, and no slick production. Just sweaty, ageless, gutsy rock n’ roll inspired by — and inspiring — youthful indiscretion one petty crime at a time.
The Saint James Society
Dixie Witch
Riverboat Gamblers