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Rock - Paru le 9 octobre 2020 | BMG Rights Management (UK) Ltd

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On retrouve avec plaisir les quatre lascars de Travis, qui ont déjà l’avantage d’être écossais, donc sympathiques et drôles, et souvent, il faut bien le dire, émouvants. Et ces émotions, à l’origine du succès du groupe, qui a tout de même vendu des millions de disques, on les retrouve distillées ici et là sur cet album, sobrement et simplement intitulé 10 Songs, et qui, comme certains disent dans les maisons de disques « fait le job ! » C’est-à-dire qu’il nous donne les instants savoureux que l’on attend d’un album de Travis. Butterflies est une jolie ballade sentimentale, et A Million Hearts peut facilement vous décrocher une ou deux larmes si vous l’écoutez à 8 heures du matin et qu’en plus, vous comprenez l’anglais et donc les paroles… Avec Travis, on navigue dans les eaux de Coldplay, Keane et autre Muse, celles traversées par la lumière de la nature, des regrets et des petits bonheurs… Avec, venant de loin, un beau vent celtique… Les grands espaces, la forêt, le folk mâtiné rock de A Ghost ou la beauté acoustique des premières secondes de Kissing in the Wind. « Lorsque tu rêves, et même si tu ne rêves pas à grand-chose… », c’est écrit spontanément, et ça marche. La musique qui nous touche est bien souvent celle qui ressemble à la vie de tous les jours, mais placée sous une autre lumière, avec une couleur un peu plus appuyée, un contraste un peu plus dur parfois… Au final, c’est un bien joli tableau champêtre que les amis de Travis nous offrent là. © Yan Céh/Qobuz
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Alternatif et Indé - Paru le 12 juin 2001 | Independiente

After the momentous success achieved with their sophomore effort (The Man Who), Travis' return to melodic rock & roll with The Invisible Band is once again personal and earnest. Having spent most of 2000 supporting Oasis and playing their own headlining gigs in the States, Travis remained humble while collecting a dozen solid tracks for another album, most of them plucked from Fran Healy's own humming and tinkering around with an acoustic. The Invisible Band finds Nigel Godrich (Radiohead, Beck, Neil Finn) mixing and mastering again, and vulnerability found within these songs is what makes Travis a decent band. They are not afraid to be catchy and they're certainly suckers for a sweet love tune. But Travis is conscious of the unconscious and reflects any kind of lyrical emotion. Debut single "Sing" is charming while addressing inhibitions within a relationship. The banjo is a nice touch, for it becomes a mainstay throughout and adds a slightly different touch versus the simplicities of an acoustic. "Side" and "Flowers in the Window" are instantly endearing with their Beatlesque hooks, but "The Humpty Dumpty Love Song" is Travis' finest moment of musical clarity with Healy's heart on his sleeve. Written while on tour with Oasis, "The Humpty Dumpty Love Song" reflects a hero's fading fervor of love lost -- "All the kings horses and all the kings men/Couldn't pull my heart back together again/All the physicians and mathematicians too/Failed to stop my heart from breaking in two." Indeed, Travis is the basic man's poets and The Invisible Band plays toward the simplicities of humility. They've done it again, but with more internal charisma. The Man Who took them from indie angst to melodic humdrum. The Invisible Band perfects the ever-changing growth within the band for something great. © MacKenzie Wilson /TiVo
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Pop/Rock - Paru le 23 novembre 2009 | Independiente

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Alternatif et Indé - Paru le 2 novembre 2004 | Independiente

Next to Coldplay, no other band was as successful in disseminating post-Britpop in the early 2000s as the Scottish four-piece Travis. Ironically, starting out as a neo-trad rock outfit on its 1997 debut album, Good Feeling, the band soon experienced a kind of soft rock epiphany and by its 1999 follow-up, The Man Who, was pursuing a decidedly more low-key acoustic sound. Centered around the delicately sanguine vocals of Fran Healy, Travis found radio-friendly currency with such melancholy anthems as "Why Does It Always Rain On Me?," "Sing," and "Flowers in the Window." However, despite a knack for catchy melodies and heartfelt lyrical sentiments, Travis albums often have a "samey" quality, which makes Singles such a pleasant addition to the band's catalog. Featuring every one of Travis' singles -- including the aforementioned hits -- as well as a new cut, Singles works as a great introduction to the band, hitting all the high points while avoiding any mid-album filler. Of course, some memorable album tracks like "Safe" can't technically be included here, and fans will have to wait for the inevitable "best-of" disc for a more complete Travis picture. Until then, Singles will do just fine, thanks. © Matt Collar /TiVo
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Pop/Rock - Paru le 23 novembre 2009 | Independiente

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Alternatif et Indé - Paru le 7 octobre 1997 | Independiente

Like most post-Oasis bands, Travis are determined to be a classic band, which means they are decidedly classicist in their approach. Travis have the traditional Britpop influences -- Beatles, Kinks, Small Faces, etc. -- which are filtered through such '90s peers as the Stone Roses, Manic Street Preachers, and, of course, Oasis. Fortunately, they aren't tied to the '60s, like Cast or Ocean Colour Scene; they try to revitalize the traditions with harder backbeats and louder guitars, and Fran Healy's voice often strains at the edge of screaming. That approach can keep their conventional aspects entertaining, but what makes Good Feeling a successful debut is that Healy can write hooks, whether it's the anthemic "All I Want to Do Is Rock" or the stompy "U16 Girls." There are several slow spots on Good Feeling that illustrate how the group's sound has its limits, but it's a promising debut that establishes Travis as one of the better British trad rock groups. © Stephen Thomas Erlewine /TiVo
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Alternatif et Indé - Paru le 24 mai 1999 | Craft Recordings

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Alternatif et Indé - Paru le 1 janvier 1999 | Craft Recordings

After a debut album that presented Travis as mostly cheerful Brit-poppers and had a clear, crisp Steve Lillywhite production, the band changed things up on their second album, The Man Who. The foursome turned to Radiohead and Beck producer Nigel Goodrich to give their sound some depth while also writing a batch of songs that delved deeply into melancholy and sadness. So much so that when the record label first heard the results, they sent the band back into the studio to write some more upbeat tunes. Songwriter Fran Healy responded with "Driftwood," a seriously catchy song that nobody would dare call cheerful. The dourness and gloom of the songs is a perfect fit for the richly spacious production Goodrich brings to the table and Healy's majestically crooned vocals. He has pipes and range enough to fill a stadium or whisper in the listeners' ear just as convincingly. The band proves skilled at crafting big, echoing songs that never lapse into pomposity and can be taken down to low volumes and not lose any intensity. "Driftwood" is one stunning example of their blend of quiet tenderness and expansive reach; its acoustic guitar underpinnings, soaring guitar lines, strings, and Healy's heavenly vocals all combine to drive the song deep into the memory. Even more sticky is the band's early career highlight, "Why Does It Always Rain on Me?" It's a jangling, heartbreaking song with a huge chorus, beautiful strings, subtle production, and truly lovely vocals. These two tracks are hard to match, but much of the album comes close. "The Fear" is rambling, loosely played, dark pop that conjures up vintage Van Morrison, "She's So Strange" is a lilting Beatlesque ballad with nice vocal harmonies, and "Writing to Reach You," with its rollicking tempo and fiery guitar leads, almost rocks in context. Only "Turn" strays a bit too far into overwrought territory and sounds out of place among the other quietly melancholic and blue songs. The band and Goodrich work hard to create a mood and apart from that one song -- and the much heavier "Blue Flashing Lights" that the band added as a secret track -- it remains unbroken and a heavy gloom lingers over the songs, which gives the soft melodies and sympathetic performances some real weight. The Man Who is a career-defining record for Travis, setting a course for their brand of medium drama guitar pop and trumpeting Fran Healy as one of the great voices of early-2000s British pop. © Tim Sendra /TiVo
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Alternatif et Indé - Paru le 11 janvier 2016 | Red Telephone Box

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Et de huit ! Trois années sont passées depuis le dernier album des énergiques Ecossais. Cette fois, pas de homard, pas de large repas bourgeois renversé. Fidèles à leur réputation, les britanniques ont produit un condensé d’énergie. Peut-être un peu court, Everything At Once provoque offre malgré tout une écoute des plus dynamiques. Toute guitare dehors, les musiciens s’adonnent à une brit-pop efficace remplie de bonne humeur. Et, même si les premiers titres de l’album sont d’un ton musicalement joyeux, on constate un assombrissement de l’horizon au fur et à mesure que l’écoute avance. Les points d’orgues de cet opus sont marqués par 3 Miles High ou le single éponyme sur lequel l’auditeur pourra avec plaisir cliquer sur la touche replay. ® RB/Qobuz
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Rock - Paru le 7 mai 2007 | Independiente

Early in their career, Travis sounded like Oasis crossed with U2, and as the years rolled steadily on, they gradually replaced Oasis with Radiohead, without ditching that devotion U2. Travis may have cut out any of their overt rock influences, yet they retained the everyday, boys-next-door image that was so common in all the post-Britpop guitar bands, and that humility served them well on their 1999 sophomore effort, The Man Who, a commercial breakthrough that also established the soft, shimmering sound that was their signature. Unfortunately for them, not long after that album, they were eclipsed by Coldplay, another Radiohead-U2 fusion that managed to keep some sense of majesty to their music, something that Travis, sensible lads that they are, seemed to studiously avoid. In the wake of that simultaneous success and eclipse, the group survived some professional and personal struggles, taking four years to record their fifth album, 2007's The Boy with No Name. Far from being a long-gestating leap forward, The Boy with No Name offers a comfortable, familiar Travis, but there is a slight, subtle difference: the band has truly embraced their modesty, settling into their gentleness. There's a mild, untroubling weariness to their performances here that suits them quite well; it deepens the music, makes their deliberate tempos resonate, it makes the quietness feel contemplative, it even makes the cleanliness of the production feel right, a reflection of their maturity. If the melodies don't really dig in, they nevertheless float sweetly, meshing into the overall fabric and feel of the album. If the music never quite soars, it never seems as if the band is struggling in vain to achieve take-off, either. For the first time since The Man Who, Travis doesn't seem to strive to achieve something, they just exist, and their music is better for it. They're still ordinary, almost painfully so, but they don't seem pedestrian, they seem to have weathered some ups and downs, channeling that experience into an album that has a slight, yet palpable, emotional resonance that their predecessors often lacked. © Stephen Thomas Erlewine /TiVo

Rock - Paru le 7 avril 2021 | UMG Recordings, Inc.

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Alternatif et Indé - Paru le 12 juin 2001 | Craft Recordings

After the momentous success achieved with their sophomore effort (The Man Who), Travis' return to melodic rock & roll with The Invisible Band is once again personal and earnest. Having spent most of 2000 supporting Oasis and playing their own headlining gigs in the States, Travis remained humble while collecting a dozen solid tracks for another album, most of them plucked from Fran Healy's own humming and tinkering around with an acoustic. The Invisible Band finds Nigel Godrich (Radiohead, Beck, Neil Finn) mixing and mastering again, and vulnerability found within these songs is what makes Travis a decent band. They are not afraid to be catchy and they're certainly suckers for a sweet love tune. But Travis is conscious of the unconscious and reflects any kind of lyrical emotion. Debut single "Sing" is charming while addressing inhibitions within a relationship. The banjo is a nice touch, for it becomes a mainstay throughout and adds a slightly different touch versus the simplicities of an acoustic. "Side" and "Flowers in the Window" are instantly endearing with their Beatlesque hooks, but "The Humpty Dumpty Love Song" is Travis' finest moment of musical clarity with Healy's heart on his sleeve. Written while on tour with Oasis, "The Humpty Dumpty Love Song" reflects a hero's fading fervor of love lost -- "All the kings horses and all the kings men/Couldn't pull my heart back together again/All the physicians and mathematicians too/Failed to stop my heart from breaking in two." Indeed, Travis is the basic man's poets and The Invisible Band plays toward the simplicities of humility. They've done it again, but with more internal charisma. The Man Who took them from indie angst to melodic humdrum. The Invisible Band perfects the ever-changing growth within the band for something great. © MacKenzie Wilson /TiVo
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Rock - Paru le 16 septembre 2020 | BMG Rights Management (UK) Ltd

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Alternatif et Indé - Paru le 7 mai 2007 | Craft Recordings

Early in their career, Travis sounded like Oasis crossed with U2, and as the years rolled steadily on, they gradually replaced Oasis with Radiohead, without ditching that devotion U2. Travis may have cut out any of their overt rock influences, yet they retained the everyday, boys-next-door image that was so common in all the post-Britpop guitar bands, and that humility served them well on their 1999 sophomore effort, The Man Who, a commercial breakthrough that also established the soft, shimmering sound that was their signature. Unfortunately for them, not long after that album, they were eclipsed by Coldplay, another Radiohead-U2 fusion that managed to keep some sense of majesty to their music, something that Travis, sensible lads that they are, seemed to studiously avoid. In the wake of that simultaneous success and eclipse, the group survived some professional and personal struggles, taking four years to record their fifth album, 2007's The Boy with No Name. Far from being a long-gestating leap forward, The Boy with No Name offers a comfortable, familiar Travis, but there is a slight, subtle difference: the band has truly embraced their modesty, settling into their gentleness. There's a mild, untroubling weariness to their performances here that suits them quite well; it deepens the music, makes their deliberate tempos resonate, it makes the quietness feel contemplative, it even makes the cleanliness of the production feel right, a reflection of their maturity. If the melodies don't really dig in, they nevertheless float sweetly, meshing into the overall fabric and feel of the album. If the music never quite soars, it never seems as if the band is struggling in vain to achieve take-off, either. For the first time since The Man Who, Travis doesn't seem to strive to achieve something, they just exist, and their music is better for it. They're still ordinary, almost painfully so, but they don't seem pedestrian, they seem to have weathered some ups and downs, channeling that experience into an album that has a slight, yet palpable, emotional resonance that their predecessors often lacked. © Stephen Thomas Erlewine /TiVo
A partir de :
CD11,99 €

Alternatif et Indé - Paru le 1 janvier 2003 | Craft Recordings

As much heat as the group received for The Invisible Band not matching the charm of The Man Who, Travis is still a good pop band. To imagine a world without them and their lovely and amusing songs would be a sad thing. In fact, their fourth album, 12 Memories, might never have been if drummer Neil Primrose hadn't survived a tragic dive while vacationing in France in summer 2002. Primrose sustained a spinal injury in a pool accident; thankfully the odds of a recovery were good, and Primrose went through surgery without any complications. 12 Memories is a dark reflection of that time, not to mention a heavy soundscape looking at violence as a whole that stems from a post-September 11th way of life. 12 Memories is their most mature, most explicit, and most somber album, and fans looking for Travis to resort back to the blazing riffs of "All I Wanna Do Is Rock" obviously didn't come of age with the band as they should have. The world's a fragile place, and Healy wants to talk about it. He's on his soapbox and instead of pointing a finger in disgust, he and Travis craft beautiful melodies that do just as much damage. From slagging off a media-obsessed America and its political regime on the jaunty, new wave-tinged "The Beautiful Occupation" to the soft piano-pounce of "How Many Hearts," 12 Memories flows without any preconceptions of what Travis released previously. They really don't care. What they care about is love and spreading it through song. Healy's look back at his mum's spousal abuse on "Re-Offender" finds Travis maintaining a sweet, basic rock sound and hitting you hard in the face. If you're able to appreciate the pleasure and point they bring as a whole, 12 Memories will be a fine listen. If you're hoping they took the Coldplay route, you're in the wrong place. © MacKenzie Wilson /TiVo

Rock - Paru le 12 février 2021 | UMG Recordings, Inc.

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Rock - Paru le 26 mars 2021 | BMG Rights Management (UK) Ltd

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Alternatif et Indé - Paru le 19 août 2013 | Red Telephone Box

Après cinq années de silence radio, tout le monde était en droit de penser que Travis n'existait plus et appartenait au passé de l'éphémère vague post-Britpop. Il n'en est rien avec l'apparition surprise de ce septième volume composé en Norvège et enregistré à Berlin avec le producteur Michael Ibert.Annoncé par un titre homonyme plus qu'honnête, un autre extrait sympathique intitulé « Another Guy » et une petite merveille de pop comme le groupe sait en trousser, la chanson « Moving », ce nouvel opus tant attendu serait prêt à cultiver l'idée d'un long repos salvateur et régénérateur. Une impression confortée par la paire de démarrage enchaînant « Mother » et le précité « Moving ». D'entrée, le curseur est placé au niveau des tubes du type « Sing » avec des mélodies évidentes et un chant désarmant d'innocence.Tout n'est pas du même acabit sur Where You Stand mais peu s'en faut. Le groupe écossais spécialisé dans les titrages courts et les refrains prenants se laisse parfois aller à quelque complaisance, en particulier sur « Warning Sign », en-dessous de la très bonne tenue de l'album. Même si la pop à guitares, enjouée, de Travis n'est plus exactement à la mode, le quatuor qui n'a pas bougé d'un cil reste fidèle à cette marque de fabrique qui arrose « A Different Room » ou « On My Wall », entre autres réussites. Comme l'annonce le premier titre, « pourquoi avons-nous attendu tout ce temps » ? © ©Copyright Music Story Loïc Picaud 2016
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Alternatif et Indé - Paru le 2 novembre 2004 | Craft Recordings

Next to Coldplay, no other band was as successful in disseminating post-Britpop in the early 2000s as the Scottish four-piece Travis. Ironically, starting out as a neo-trad rock outfit on its 1997 debut album, Good Feeling, the band soon experienced a kind of soft rock epiphany and by its 1999 follow-up, The Man Who, was pursuing a decidedly more low-key acoustic sound. Centered around the delicately sanguine vocals of Fran Healy, Travis found radio-friendly currency with such melancholy anthems as "Why Does It Always Rain On Me?," "Sing," and "Flowers in the Window." However, despite a knack for catchy melodies and heartfelt lyrical sentiments, Travis albums often have a "samey" quality, which makes Singles such a pleasant addition to the band's catalog. Featuring every one of Travis' singles -- including the aforementioned hits -- as well as a new cut, Singles works as a great introduction to the band, hitting all the high points while avoiding any mid-album filler. Of course, some memorable album tracks like "Safe" can't technically be included here, and fans will have to wait for the inevitable "best-of" disc for a more complete Travis picture. Until then, Singles will do just fine, thanks. © Matt Collar /TiVo
A partir de :
CD9,99 €

Alternatif et Indé - Paru le 1 janvier 2003 | Independiente

As much heat as the group received for The Invisible Band not matching the charm of The Man Who, Travis is still a good pop band. To imagine a world without them and their lovely and amusing songs would be a sad thing. In fact, their fourth album, 12 Memories, might never have been if drummer Neil Primrose hadn't survived a tragic dive while vacationing in France in summer 2002. Primrose sustained a spinal injury in a pool accident; thankfully the odds of a recovery were good, and Primrose went through surgery without any complications. 12 Memories is a dark reflection of that time, not to mention a heavy soundscape looking at violence as a whole that stems from a post-September 11th way of life. 12 Memories is their most mature, most explicit, and most somber album, and fans looking for Travis to resort back to the blazing riffs of "All I Wanna Do Is Rock" obviously didn't come of age with the band as they should have. The world's a fragile place, and Healy wants to talk about it. He's on his soapbox and instead of pointing a finger in disgust, he and Travis craft beautiful melodies that do just as much damage. From slagging off a media-obsessed America and its political regime on the jaunty, new wave-tinged "The Beautiful Occupation" to the soft piano-pounce of "How Many Hearts," 12 Memories flows without any preconceptions of what Travis released previously. They really don't care. What they care about is love and spreading it through song. Healy's look back at his mum's spousal abuse on "Re-Offender" finds Travis maintaining a sweet, basic rock sound and hitting you hard in the face. If you're able to appreciate the pleasure and point they bring as a whole, 12 Memories will be a fine listen. If you're hoping they took the Coldplay route, you're in the wrong place. © MacKenzie Wilson /TiVo