Travis: The Man Who (Independiente)
It's not a good sign when the opening riff on your new album is almost identical to Wonderwall, and it's an even worse sign when subsequent tunes sound uncomfortably like Radiohead in a romantic mood. But though Travis are burdened with all the same Britrock reference points which weighed down the career of Embrace, there's a spark of individuality in songs such as Driftwood, Turn and Why Does It Always Rain On Me? The semi-acoustic arrangements keep the focus firmly on Fran Healy's plaintive vocals, and sometimes the sound soars above the ordinary, particularly on She's So Strange. Obvious comparisons to The Unbelievable Truth are hard to resist, but if Travis don't want to be lumped in with the sadcore set, they need to get writing to reach a wider emotional scope.
By Kevin Courtney
Mike & The Mechanics: (Virgin)
With the latest incarnation of Genesis stalling in the lower reaches of the charts, it looks like Mike Rutherford has decided to call in the Mechanics once again to try and fix his floundering fortunes - and when you listen to Paul Carrack's pristine, AOR vocals on tracks such as Whenever I Stop, What Will You Do and Always Listen To Your Heart, your worst fears are confirmed: the Eighties are coming back to haunt us. Not one track here sounds like it was either written or recorded in this decade, although the highly-polished production might suggest that at least the technology is bang up to date. It would be nice to think that the public might just say no to this superannuated schlock, but methinks the classic hit radio stations of the world are already salivating at the prospect of adding this to the playlist.
By Kevin Courtney
Dot Allison: Afterglow (Heavenly)
Dot Allison's previous band One Dove were the ones who got away. What should have been a mesmerising blend of chill-out cream and skylarking treats on a par with Primal Scream's Screamadelica was soured and muted. No such failings with this, her debut solo album, as Allison's crystal vocals are perfectly applied to a copious spread of ethereal, beaty delights. Sure, it sometimes sounds very studied - but there are pop hooks to Tomorrow Never Comes and, especially, Morning Sun, which make perfect sense of all the dubs and effects flying hither and thither. At times reminiscent of Nico, at times even coming near a Marianne Faithfull purr, file alongside Nightmares On Wax's Carboot Soul for those latenight/early-morning sessions.
By Jim Carroll