Album Review: Travis - The Boy with No Name (4/5)

Oasis-Radiohead-Travis-Coldplay-Franz Ferdinand. That's pretty much the key progression of British rock music over the last 12 or so years. Travis, though easily the least successful of this list across the pond in America, was the "it" band of 1999, breaking out big with their second album, The Man Who, which went on to win the Brit Award for Best Album. Eight years on and not much has changed, which has created a love 'em or hate 'em divide among the critics.

Those that love them praise the gentle laid-back melodies and the high production values. Those that hate them try to blame them for having ushered in the era of "adult indie" that dominates the British music scene with the likes of Keane, Snow Patrol, James Blunt, KT Tunstall, and most spectacularly, the above-mentioned Coldplay. Whether or not you love or loath the adult indies, Travis would no doubt snigger at the suggestion that way back in 1999 they should be responsible for opening some sort of floodgate for imitators.

The Boy with No Name, so named because vocalist Fran Healy and his wife were unable to find a suitable name for their son for 4 weeks, is not a revelatory about face for the band nor is it the Satan spawn of British music as some suggest. It is merely a lovely collection of songs from a band that has become adept at churning out lovely collections and that suits them just fine thank you very much.

"3 Times and You Lose" is a lovely opener--cracking the door just a bit with only a plaintive vocal and acoustic guitar before the rest of the band kicks in. It's a bit brooding, with a good mix of acoustic and electric guitar interplay.

"Selfish Jean" is an obvious highlight and a bit of a departure, if only because it's actually uptempo. It's the most fun Travis has probably ever had on a song. It's been chosen as the second single, and could give the band something a hit, which they haven't really had since 2001's "Sing." Third track and first single "Closer" is vintage Travis: lovely and inoffensive.

"Big Chair" opens with bass and dreamy piano over drums and then soars with strings during the chorus. It's really good, although it doesn't quite reach the grandeur it seems it should. String-laden "Battleships" is fine; it has a good production, although a little too sweet.

Better is "Eyes Wide Open," which weaves some classic rock elements into the fold. It's a mid-tempo burner with a nice jolt of energy behind it. Upbeat, piano-driven "My Eyes" is also good and manages to rejoice in fatherhood without being too treacly, which is saying something from a band many accuse of being schmaltzy.

"One Night" seems pretty typical, dark and dreamy. "Under the Moonlight" is also typical, upbeat and dreamy. "Out in Space" by contrast is quieter and mostly acoustic, punctuated by the sound of explosions. This would seem to channeling Radiohead. All three are fine, but not standouts.

"Colder" has a bit too much going on for my taste, including harmonica and vocoder. Final official track "New Amsterdam" is lovely, although it doesn't quite come together I think.

The bonus tracks, which I usually don't discuss, are actually pretty decent. First there's upbeat "Sailing Away" that has a really great mix of acoustic guitar, sharp piano chords, and staccato bass. Then there's "Perfect Heaven Space," which features a lovely piano melody.

Overall, the album is surprisingly uptempo for Travis, and the first half is particularly good. Finally, I think the album cover art is really cool. Love the architectural emphasis.

Best: Selfish Jean, Closer, My Eyes, Eyes Wide Open, Big Chair, 3 Times and You Lose