The Fray's self-titled second album exhibits maturity

Upper-octave singing and harmonies refine The Fray's sound.

By Rachel Post

Published Feb. 9, 2009

Since the release of The Fray's debut album How to Save a Life, the four-member rock band from Denver has had its name up in lights. The artwork for its sophomore, self-titled album literally illustrates the name-in-lights phenomenon the band has experienced since its debut.

The Fray's sophomore album is similar to its first in format, but the second release includes more upper-octave singing on singer Isaac Slade's part and more harmonies between Slade and acoustic guitarist Joe King. These elements have helped refine The Fray's overall sound.

The album starts off strong with "Syndicate," a passionate song with powerful piano and satisfying harmonies. Slade sings, "Baby close your eyes, don't open 'til the morning light/Don't ever forget we haven't lost it all yet/All we know for sure is all that we are fighting for/Baby don't forget we haven't lost it all yet."

"You Found Me," the album's first single, is about a crisis and renewal of faith. Slade sings, "Where were you when everything was falling apart/All my days were spent by a telephone that never rang/And all I needed was a call that never came."

"Say When" finds Slade singing in a higher voice in the chorus, something that became characteristic of The Fray when the band released its debut album.

"Never Say Never" is mellower than the first four songs on the album and is lyrically more clichŽ than its previous counterparts, but no less passionate. "Where The Story Ends" is upbeat but displays Slade's vulnerability. He sings, "Trying not to lose my head but I have never been this scared before/Tell you what I'll do instead, lay my body down on the floor."

The last 45 seconds of the song segue into "Enough for Now," a heartfelt song presumably about Slade's grandfather, who neglected his mother and left his grandmother.

"Ungodly Hour," sung by King, sounds much like a lullaby. The mellow drums, acoustic guitar and loud piano work well together, and King's voice is very suited for the song, but at times seems it is imitating Slade's voice, as King has trained his voice to do in the past.

"We Build Then We Break" is a powerful song in which Slade advocates against relationship and sexual violence. He sings, "I don't know you but I know what you did to her/She told me, and I happen to believe her too" and "Cause I will be two steps behind/You will not know what's got you/Oh so you're sorry now/All is not well, it's not ended."

"Happiness" is less unique and mellower than the aforementioned songs. It is lyrically rich but is musically uninventive. It seems as though this song was just an afterthought for the album so that it would be complete with 10 songs.

Despite the seemingly lazy ending on The Fray's self-titled sophomore album, it is more refined and a great continuation of The Fray's promising career.