Denison Witmer - Barfly, London, 10/3/2011

  by Anthony Strutt

published: 20 / 3 / 2011

intro

Anthony Strutt watches Leeds-based alternative rockers I Like Trains play an excellent set of both new and old material at a XFM radio station gig at the Barfly in London

I haven't seen I Like Trains since last April and during that time they have released a wonderful new album called 'He Who Saw the Deep'. Tonight I am at the back of a rather full and very trendy crowd as this is a XFM radio station gig which is being recorded for later transmission. This is the most crowded I Like Trains show that I have ever been too, although the band are long overdue to be playing bigger venues by now. The band look younger having trimmed their beards, but the music is still as dark as ever, although the newer material isn't about dead people that you haven't heard of, as their first two releases 2006 mini-album, 'Progress Reform', and 2007 debut album proper, 'Elegies to Lessons Learnt,' were. 'Sirens' from the new album opens the set. It is dark and gloomy soul-searching music to drink too in late night cellars and upstairs bars. 'A Rook House for Bobby' from 'Progress Reform' gets cheers from its opening chords to its closing ones. This hip crowd are totally disrespectful of the great music that is being played, but 'A Rook House for Bobby' soars and kills the crowd's noise if only for a short while. 'When We Were Kings' is noisy with a forwarding pushing rhythm. 'Voice' is haunting with massive waves that swim over us, but sadly do not drown out the bastards next to me. 'Hope is Not Enough' is slow and doomy with deep drums from Simon Fogal. 'We Saw the Deep' is like a deep the Cure with its choppy beats, while 'Progress is a Snake' is very loud and doomy anthem for us all. Early single 'Terra Nova', which was my first ILT purchase and has kept me loyal to the band ever since, gets massive cheers. 'These Feet of Clay' is bass heavy and works well with its heavy drum patterns and David Martin's gloomy vocals. 'Sea of Regrets', which closes the set with no encore, is as gloriously dark as the black night outside. A perfect set really!

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