Oh Boy!

Travis elates sad saps with newest release.
By William Earl
2007-05-15
Don’t blame Scottish band Travis for the perennial hype surrounding the next big British sad-man group. All of the Coldplays and Keanes in the world cannot match the subtle grace of the quartet, who create gentle pop supplemented by flourishes of the grandiose. After all, the boys’ second album, “The Man Who,” laid the blueprint for modern, easy-listening Brit-pop.

Unlike the aforementioned troupes, who are eager to flush melody out with a string section, Travis is comfortable enough with composition to write lasting songs without gimmickry. Their approach hasn’t changed during the years (no neo-glam phase, no dance-punk era), and they have created quite a trademark under the Travis name.

Enter their 5th full-length, “The Boy With No Name.” Taking a step back from the political overtones of 2003’s “12 Memories,” Travis returns to what they do best — allowing plenty of room for frontman Francis Healy to pine over lost loves and the meaning of life. He can often tiptoe into the ridiculous (“Deep in my heart/there is no room for crying” (really?)), but his wavering vocals are truly aural comfort food. Even the clunky metaphor can be pulled off thanks to the innocence Healy commands. Few vocalists can sound this convincing while waxing sentimental, but Healy’s sincerity guides Travis.

The true beauty of the group rests in Healy’s cohorts’ ability to anchor his voice through a vibrant rhythm section. In fact, Travis refines an art lost in many modern bands. It is one thing to have a guitarist, bassist, pianist and drummer in a group, but to mesh the sounds together into one organism is a skill unconquered by younger acts. There is rarely a memorable guitar hook or drumline in “Boy;” rather, the boys work together to create a unified sound, checking any showboating at the door.

Tracks such as “My Eyes” and lead single “Closer” truly convey their skill, as instruments nestle comfortably with minimal excess. There are also several songs which nudge away from the Travis style, evident in the mostly-acoustic musings of “Out In Space” (a token track for sappy mixtapes) and, on the other side of the spectrum, the Iggy Pop-biting “Selfish Jane.”

Travis isn’t out to change the world, but perhaps just add measured beauty to it. Worth the price of admission, the best plan of action is to buy “Boy” for yourself and then slip it to your best friend who is salivating for the newest Coldplay release.

William Earl also thinks you should listen to a similar band from England called Starsailor, because they rock as well. E-mail him at williamjearl@gmail.com