’12 Memories’ informs listeners of Travis’ influence but maintains a unique sound.
By Nathanael Breeden
Staff Writer
Often mentioned in the same breath as Radiohead and Coldplay, the Scottish band Travis continues to insist on being unique. Though their music is blatantly similar to some of their contemporaries, particularly from Britain, the overriding theme of their latest release, “12 Memories,” seems to be a cry for difference.
From the opening song “Quicksand,” the band establishes a tone of sinking hope, as almost a backlash to the often-optimistic pop/rock songs of their genre. And yet from this opening song one hears clear remnants of the Beatles, the ultimate in British pop/rock. In fact, it is the Beatles that Travis strives to best imitate.
And this is their greatest strength. Like the original heralds of British rock, Travis blends their now familiar music with lyrics ranging from social commentary to lover’s lament. In the case of “Mid-Life Krysis,” both of these topics are melted together, telling a personal story of confused love while addressing a worldwide concern with lines like “every day is like a movie, third world war on the rise.”
Their somewhat pessimistic outlook continues in songs like “Peace the (expletive) Out” and “How Many Hearts,” but the band is aware of this tone and even addresses it in one of the best songs on the album, “The Beautiful Occupation.” Commenting on people’s tendency to be apathetic about things, the song admits, “I’m too cynical.”
The pivotal song in terms of the album’s title is clearly “Paperclips,” in which the band reaches its lowest of introspective laments. But this is followed by “Somewhere Else” (with echoes of Elliott Smith) and “Love Will Come Through,” which both present a pleading optimism and offer a much-needed lift in the music.
With “Re-Offender,” Travis achieves what has the quality to be a single release. Through a catchy chorus, the song tells a story of familiar lover’s angst, but also takes a look at the masks we wear and false appearances. While nothing too new, the music on this track is not forced and seems to flow exactly as it should.
After some more melancholic strains in “Happy to Hang Around” and “Walking Down the Hill,” the album ends with a bonus track entitled “Some Sad Song.” This is by far the most vocally expressive track, and, accompanied by only piano, is best described as beautifully depressing.
As a whole, “12 Memories” is a fresh voice of realism. While the music of Travis is easily identifiable with that of others, both contemporary and not, the band’s voice is clearly their own.
All things considered, this is a voice well worth hearing.
October 30, 2003
