by L. Jeanette Strole

In 1999 Travis released their second album, The Man Who, and were lauded by fans and critics alike. That particular record supplied a lengthy span of sonorous delectation, and quickly became a personal favorite. During a recent trip to Europe, with high hopes, I picked up Travis' third full_length CD, The Invisible Band. Given every opportunity to soak into my brain during a month of rail travel, Travis woke me up, Travis soothed me to sleep, and Travis provided the soundtrack for Italian and French countryside passing by outside of train windows.

The four Scottish lads churn out a set of tunes that could only be described as "feel-good." Certainly, there can often be an element of sappiness to "feel-good" albums, which some critics might hack apart in this album. But Travis deftly discards any sappiness with their knack for solid melodies, and goose-bump inducing harmonies. Their nimble modern rock, and cohesive style gives them the credibility that is so often lacking in mainstream pop and feels familiar, yet fresh.

Take for instance the radio-single, “Sing”- which is currently in the top ten in the UK. Sing opens up the album with jangly, happy pop-rock, which dissolves into the second track, “Dear Diary,” the mournful strains of which hold such a melancholy beauty that it is difficult to not somehow feel attached to the narrator in his nearly suicidal plight of self-doubt. "Dear diary, what is wrong with me? Cos I’’m fine, between the lines." (For those who can reference songs off of The Man Who, the closest cousins would be “Luv,” or “As You Are.”)

“The Cage”, with its isolated piano notes, Fran Healy’s wistful vocals, and poetic lyrics often generated shivers down my spine during my long train treks. Even when the cd has stopped playing, I can still hear his voice trailing off into an echo. "To keep her caged, would just delay the spring."

If there is one thing I miss on this album, it is the quirkiness of songs like “She’s So Strange,” which was like a savory little bonbon on The Man Who. This album offers pensive songs, and romantic, joyful songs, but very little of the off-kilter lyrics like "And she wore a black moustache, and she pilfered all the petty cash..."

Nevertheless, Travis is such a talented band, and this is an excellent pop album. The band has brought back melody and beauty __ in a modern pop culture landscape where angst and rage compete against vacuity and triteness, nonetheless __ and gives music lovers a chance to take a deep breath. Perhaps the album title should have been Bliss in Plastic Packaging.