When you think about it, Travis have been up and down the emotional rollercoaster in recent years. Surprisingly it’s almost seven years since the Glaswegian popsters depressed us with tales of rain filled woe on 1999’s The Man Who, before cheering up considerably on their high point, Beatlesque The Invisible Band in 2001. Twelve Memories, their last album in 2003, was much darker again though, with songs covering all manner of heavy subjects from domestic violence (‘Re-offender’) to the War in Iraq (‘The Beautiful Occupation’).

The Boy With No Name, so called because for weeks Fran Healy couldn’t decide on a name for his son, is a curious mix of all that’s gone before. Happily, it’s also great.  Opener ‘3 Times and You Lose’ is, like much of the album, a slow burner and begins quietly with Healy’s quiet vocals and acoustic guitar, before it gives way to the band and a melody which is almost wild west in feel. It’s also incredibly catchy, in a sly way. ‘Selfish Jean’ meanwhile is easily one of the best things they’ve ever done. Powered by thumping drums and a shiny upbeat riff a la The Invisible Band, it’s irresistible, particularly when Healy finally unleashes his throaty vocals, missing in action since the early days of 1995’s debut Good Feeling. It also has great smirk inducing lyrics – Jean is so selfish, she ‘keeps the chocolate biscuits wired to the car alarm’.   

Lead single ‘Closer’ meanwhile is on first listen quite possibly the wettest song ever committed to tape.  A lovelorn lament with light acoustic melody and augmented by strings, it’s over in a flash and doesn’t really have much impact, regardless of whether Hollywood big cheese Ben Stiller is in the accompanying video.  It’s only after several listens that the subtle hooks are revealed and while not an obvious choice for a single, eventually it sinks into your subconscious. ‘Big Chair’ is another highlight, a world away from the usual Travis fare with a funky bass line and scattered drums, tinkling piano and almost ambient feel. Like ‘Selfish Jean’, it is immediate and rates well against their back catalogue. 

Much of the rest of the album is stylistically closer to The Invisible Band, with songs like ‘Battleships’ and ‘My Eyes’ kitted out with bright, sprightly riffs and singable choruses. There are exceptions though. The excellent ‘Eyes Wide Open’ injects a bit of urgency into the album, heavier guitars framing Healy’s lyrics of the horrors of 21^st century living (he’s obviously seen Grease Is The Word too). Musically it’s a close relative to the dark ‘Flashing Blue Light’, the hidden track on The Man Who. ‘Out in Space’ and ‘New Amsterdam meanwhile are gentle, sparing acoustic tunes, suffused with the weird ambient noises producer Nigel Godrich is so fond of.  Both are great, with the lyrics of ‘Out in Space’ particularly ear catching – ‘A million miners work upon the night’s coal face’/but all I see is black’. 

The Boy With No Name is essentially Travis returning to the mainstream following their dark political outpourings of Twelve Memories. It’s a slow burning album at first but repeated listens bear out a catchy, clever album which cements their status as one of the UK’s indie heavyweights.

(4/5)