Travis – ‘L.A. Times’ album review: an effortless amalgamation of then and now
THE SKINNY: For most of us, Travis feels like a band born out of the ashes of Britpop into the indie music revival, but their sound and impact have deeper roots than just that. Delivering a personal selection of songs more potent than perhaps 1999’s The Man Who, L.A. Times is a pinball of unexplored territories, but in a way that’s completely organised without seeming too rigid.
This album comes at a somewhat strange cultural time when music has simultaneously become an open mix of just about everything and a playground of various elements siphoned to the sidelines. This makes it difficult for most bands to adopt both nostalgic and contemporary qualities, making L.A. Times seem a little dated. On paper.
In reality, it’s anything but. L.A. Times adopts everything Travis has done well to establish over the years and rarely exits the arena they have crafted for themselves. Theoretically, this should be a recipe for disaster, but instead of appearing empty and energyless, it proves that, when done right, sticking to your roots can be great.
Perhaps that’s just it: Travis aren’t trying to be anything, per se, and that comes across valiantly in this body of work. L.A. Times feels raw and real but open and lighthearted, too, and that’s an infinitely difficult amalgamation to put your finger on. Relinquishing control seems to be the best approach, however, especially when you realise just how good the music gets when you accept its boundlessness.
For fans of: iPhone users whose desire to shun modern technology is never far from their minds.
A concluding comment from a Tesco employee: “I’m down as long as they don’t repeatedly coerce me into singing again.”
L.A. Times track by track:
Release date: July 12th | Label: BMG | Producer: Tony Hoffer
‘Bus’: This particular album opening with ‘Bus’ feels entirely fitting, considering the fact that, historically, Travis have been able to immediately make you feel simultaneously everywhere and nowhere. This is a start that feels like everything and nothing, like facing your past while looking forward to the future, whatever it may hold. [3/5]
‘Raze The Bar’: This song may feel confusing depending on what sort of mindset you’re in, mostly because it sounds like something else, something wrapped up in the nostalgic sounds of the early 2000s, but in a way that doesn’t feel try-hard or out of place. [3/5]
‘Live It All Again’: This little gem of respite comes in a bit too early, making its impact feel less profound than it would have had it occurred a few songs later. Still, it doesn’t take long before its ethereal soundscapes of relaxation gently guide you along. [3/5]
‘Gaslight’: Fuelled by flamboyance and playfulness, ‘Gaslight’ taps into something most of us have experienced but even less of us truly understand. Upon first listen, you know you’ll come back for more, which is a suspicion confirmed after the third or fourth listen when you feel it under your skin. [4/5]
‘Alive’: Corny for some, catchy for others, ‘Alive’ seems to scratch an itch you didn’t know you had. Perhaps it’s because it feels much welcomed within today’s wider cultural pop resurgence, or maybe Travis just understands what it means to create great melodies without edging into tacky territory. [4/5]
‘Home’: This track might not seem as strong as other contenders on the album, but in a less weak and more reserved way, waiting for when you’re patient enough to discover the greatness seeping through. [3/5]
‘I Hope That You Spontaneously Combust’: Delivering yet another sentiment most of us likely relate to, ‘I Hope That You Spontaneously Combust’ feels slightly playful but in a way that differs from ‘Gaslight’, appearing a little more tongue-in-cheek and considered than its predecessor. [3/5]
‘Naked In New York City’: It takes a considerable amount of talent and energy to be able to pull off fast-paced alternative rock anthems as well as slower, more considered acoustic tracks. However, Travis has always demonstrated their prowess at both, and ‘Naked In New York City‘ is just another testament to that ability. [3/5]
‘The River’: Going back to the more Glaswegian folkish roots, ‘The River’ might seem like an album wild card, but in reality, it’s probably more telling of Travis’ evolution over the years. [3/5]
‘LA Times’: Not exactly an album standout, but it’s not too difficult to appreciate this song’s technicality and the ambition the band put behind it to make it work. [3/5]
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