The first full-length release for the British alternative/post-punk band in eight years features a guest appearance from Anika.
The first full-length release for the British alternative/post-punk band in eight years features a guest appearance from Anika.
5.9
I Like Trains
KOMPROMAT
Artist Origin: 🇬🇧
Release Date: 21 August 2020
Label: Atlantic Curve
Genres: Indie Rock
Prosecutor: Phil
At its best KOMPROMAT by I Like Trains felt like free tea ‘n biscuits, legs outstretched, first class carriage (pre COVID19) accompanied by The Fall and The National. Unfortunately, we got derailed on arrival by a lacklustre Public Service Broadcasting impersonation (geeks) init. 8.0
Dan
I Like Trains brand of angular post-punk hurtles down a well-worn track. As with the best train rides, it’s not about the destination but the journey, unfortunately this one felt uninspired, lacklustre, and about 10 years too late. Musically, the dark synths and lashing guitar give the album a sense of urgency, but slicker melodies are largely undone by cliche-laden lyrics and the singers drawled/monotonous delivery. Tracks such as Dig in and The Desire is a Mess sound like rehashed synth-laden indie fodder from yesteryear. Even stronger efforts such as Interpol-esque Prism and Gang of Four-inspired ‘Dig In’ feel like warmed up imitations. As disappointing as a bus replacement on a Sunday. 4.9
Adam
‘Kompromat’ apparently means ‘compromising material’, there is no such compromising material here which is a pity as it would’ve made the album more interesting. I did think the singer sounded like Kevin Spacey in the spoken sections of the songs which could be seen as somewhat compromising. The song ‘Desire is a mess’ was delivered with a campy bravado with the line ‘making a purse from this sow’s ear’ hammily delivered which was a bit of a laugh. The album ends with ‘eyes to the left’, reminiscent of the Simpsons episode when Mr Burns gets high and ‘brings peace and love’....as with Mr Burns high this album ends with a crushing low. Tasting notes: body of Interpol spliced with hints of Spacey with Kraftwerk 100s and 1000s sprinkled on top. 6.0
Rich
I too like trains, but KOMPROMAT wasn't Criminal Records' most scenic journey. Stopping at Disenfranchised Parkway and Deeply Embittered Central, this was a one-way service to the year 2005; its shimmering guitar tones and menacing basslines recalling a decent, yet distinctly second-class Interpol sound of that era. Thematically, it's a disquiet zone of power, corruption and lies derailed by an incessant stream of often meaningless idioms and throwaway phrases. I admire its intention, but the execution seems lazy and the baritone vocals are a little too sassy and vitriolic for this passenger's own preference. Like GWR's Lavazza filter coffee at £2.60 a cup, it left quite a sour taste. All in all, I'm sorry to say that KOMPROMAT sounds like a band running out of puff. Full steam ahead CR6! 4.0
Mike
Much like a British rail class 46 engine (Google it) this album is loud and plodding. Definite pangs of The National and Mark E Smith in the vocals, also a bit too Scatman in spoken delivery at points which is not a good thing. The spoken lyrics get a little tiresome for me. Not sure that this album really ever grew on me after 4 or 5 listens. However there are a couple of good tracks on here. Dig In and Patience Is A Virtue are decent. 6.4
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At its best KOMPROMAT by I Like Trains felt like free tea ‘n biscuits, legs outstretched, first class carriage (pre COVID19) accompanied by The Fall and The National. Unfortunately, we got derailed on arrival by a lacklustre Public Service Broadcasting impersonation (geeks) init. 8.0
Dan
I Like Trains brand of angular post-punk hurtles down a well-worn track. As with the best train rides, it’s not about the destination but the journey, unfortunately this one felt uninspired, lacklustre, and about 10 years too late. Musically, the dark synths and lashing guitar give the album a sense of urgency, but slicker melodies are largely undone by cliche-laden lyrics and the singers drawled/monotonous delivery. Tracks such as Dig in and The Desire is a Mess sound like rehashed synth-laden indie fodder from yesteryear. Even stronger efforts such as Interpol-esque Prism and Gang of Four-inspired ‘Dig In’ feel like warmed up imitations. As disappointing as a bus replacement on a Sunday. 4.9
Adam
‘Kompromat’ apparently means ‘compromising material’, there is no such compromising material here which is a pity as it would’ve made the album more interesting. I did think the singer sounded like Kevin Spacey in the spoken sections of the songs which could be seen as somewhat compromising. The song ‘Desire is a mess’ was delivered with a campy bravado with the line ‘making a purse from this sow’s ear’ hammily delivered which was a bit of a laugh. The album ends with ‘eyes to the left’, reminiscent of the Simpsons episode when Mr Burns gets high and ‘brings peace and love’....as with Mr Burns high this album ends with a crushing low. Tasting notes: body of Interpol spliced with hints of Spacey with Kraftwerk 100s and 1000s sprinkled on top. 6.0
Rich
I too like trains, but KOMPROMAT wasn't Criminal Records' most scenic journey. Stopping at Disenfranchised Parkway and Deeply Embittered Central, this was a one-way service to the year 2005; its shimmering guitar tones and menacing basslines recalling a decent, yet distinctly second-class Interpol sound of that era. Thematically, it's a disquiet zone of power, corruption and lies derailed by an incessant stream of often meaningless idioms and throwaway phrases. I admire its intention, but the execution seems lazy and the baritone vocals are a little too sassy and vitriolic for this passenger's own preference. Like GWR's Lavazza filter coffee at £2.60 a cup, it left quite a sour taste. All in all, I'm sorry to say that KOMPROMAT sounds like a band running out of puff. Full steam ahead CR6! 4.0
Mike
Much like a British rail class 46 engine (Google it) this album is loud and plodding. Definite pangs of The National and Mark E Smith in the vocals, also a bit too Scatman in spoken delivery at points which is not a good thing. The spoken lyrics get a little tiresome for me. Not sure that this album really ever grew on me after 4 or 5 listens. However there are a couple of good tracks on here. Dig In and Patience Is A Virtue are decent. 6.4
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