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Pop/Rock - Released November 23, 2009 | Independiente

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Alternative & Indie - Released May 24, 1999 | Craft Recordings

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Pop/Rock - Released November 23, 2009 | 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
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Alternative & Indie - Released April 29, 2016 | Red Telephone Box

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Over the span of almost three decades, Scottish indie rock stalwarts Travis have persevered, both holding faithful to the sound that they helped break into the U.K. mainstream in the '90s and rocking long enough to watch their sonic progeny spread their wings and fly off in various artistic directions (see: Coldplay, Keane, Snow Patrol). And through it all, Travis remained reliable, seldom veering too far from the center. On their eighth album, Everything at Once -- a long-form commentary on modern life in the 21st century -- they revive familiar sounds and also push themselves into more cheerful and unencumbered directions. Vocalist Fran Healy's voice remains tender as ever on plaintive throwbacks like the strumming "All of the Places" and the warm "What Will Come," both of which would fit seamlessly on The Man Who or The Invisible Band. Rougher-edged moments like the '90s nostalgic "Radio Song" and the Muse-lite Wild West epic "Paralysed" sidle up nicely with the darker 12 Memories or Ode to J.Smith, their heaviest album to date. The highlights are the three most surprising tracks on Everything. "Magnificent Time" -- inspired, in part, by Keane's Tim Rice-Oxley -- is a positively ebullient number that bursts with joy. Within the Travis discography, it's a bit jolting -- think "Selfish Jean" with a lot more sunshine -- but the band's happiness is infectious. The title track, penned by bassist Dougie Payne, injects a funky strut to the album, with a slinky bassline and speak-singing reminiscent of Achtung Baby/Zooropa-era U2. "Idlewild," a magical duet with English singer/songwriter Josephine Oniyama, pops up toward the end of the album. There's a slightly disconcerting tone, despite the gorgeous manner in which Healy and Oniyama trade off verses, like a less scary version of Nick Cave's Murder Ballad duet with Kylie Minogue. The album closes with the uplifting radio-ready U2-meets-OneRepublic "Strangers on a Train." All at once, it reflects both the bands that influenced them and the ones that they have influenced over the years. The album's title may refer to modern society's urge for instant gratification, but it also provides a symbolic nod to what Travis have done over the course of their career. Everything at Once is their liveliest and most lighthearted effort to date, a celebration of both their legacy and their maturity. ~ Neil Z. Yeung
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Rock - Released June 21, 2019 | Craft Recordings

Scottish alternative rock band Travis celebrate the 20th anniversary of their infamous Glastonbury appearance in 1999. Recorded the year before their headline slot, and coinciding with the release of their sophomore album, The Man Who, the show was perhaps best remembered for a deluge of rain as they began to play their stand-out single "Why Does It Always Rain on Me." ~ Liam Martin
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Alternative & Indie - Released January 1, 1999 | Craft Recordings

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Alternative & Indie - Released April 29, 2016 | Red Telephone Box

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Alternative & Indie - Released November 1, 2004 | Craft Recordings

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Alternative & Indie - Released June 12, 2001 | Craft Recordings

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Alternative & Indie - Released May 7, 2007 | Craft Recordings

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Rock - Released September 29, 2008 | [PIAS] Cooperative

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Alternative & Indie - Released January 1, 1997 | Craft Recordings

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Alternative & Indie - Released April 1, 2019 | Craft Recordings

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Alternative & Indie - Released January 1, 2001 | Craft Recordings

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Alternative & Indie - Released October 14, 2003 | Craft Recordings

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Alternative & Indie - Released January 1, 2001 | Craft Recordings

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Alternative & Indie - Released January 1, 1999 | Craft Recordings

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Alternative & Indie - Released March 25, 2002 | Craft Recordings

Alternative & Indie - Released January 1, 2008 | Spinefarm

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Alternative & Indie - Released April 23, 2007 | Craft Recordings