Cairns based Sleeping In Trains debuted in 2006 on a split CD with Townsville’s The Middle East. This year, they step out on their own releasing The Fisherman EP. ‘Golden Lines’ opens things up with gusto – odd harmonies over a five note guitar barrage which pushes the energy forward until tripping into a final verse with a lone drum machine under voices, segueing into the melancholy mood that is sustained for the rest of the disc’s 20-odd minutes.
Where their previous work demonstrated a reliance on guitar bite and atmospherics, on The Fisherman the pallette is opened up far wider. There are analogue synths and muted keys, glockenspiel, some spluttering rhythm loops, some of which were present previously, but never really took centre stage. If all that sounds a bit post-rock derivative, it isn’t. Yes, the band openly acknowledges their debts to Radiohead, Sigur Ros, Pink Floyd et al, but they are much better than mere copyists. And what really sets them apart is the distinctive Australian voice in which everything is presented. The accents are the most obvious aspect, with a variety of both soaring and naive delivery, and no hint of the Cure-isms of some older material. The overall production doesn’t aim for the bombastic, but uses its limitations as a strength. It’s atmospheric, but warmly and intimately so, far more Pacific Highway than Scandinavian fjord. And there is a tuneful directness, planting memorable melodies even when stretching a song over 6 minutes of downtempo blissfulness. Lyrically, there is considerable pathos, with much imagery possibly pointing to a departed and loved father figure.
At the moment, Sleeping In Trains are a word-of-mouth band doing everything independently. They definitely have the songs, sounds and individual character to reach far beyond that. The sum of all their influences and their desire to push beyond those give them an admiral distinctiveness which makes for great listening.
Adrian Elmer
