Spring Break
Second round of The Fray doesn't pack punch of first
Marla Horenbein
Issue date: 3/4/09 Section: Entertainment
03/04/09 - After the band's first album went double platinum, The Fray, a Denver-based quartet, has finally released its long awaited follow-up, a self-titled album.
The Fray's sophomore release picks up where its first album left off, giving us long piano ballads and lyrics that remind and heal us of our broken hearts.
While the band has established its signature pop/rock tone and has captivated many listeners, The Fray might be a little too bland for our listening pleasure this time around.
High expectations for this album were based on the popularity and success of How to Save a Life. While The Fray is another album perfect for prime-time television show theme songs like "Grey's Anatomy" and "Lost," it is evident that producers, Aaron Johnson and Mike Flynn, didn't stray too far from the band's comfort zone.
The album's first single, "You Found Me," has been a hit on radio stations all over the country; however, like many of The Fray's previous hit songs including "Over My Head (Cable Car)" and "How to Save a Life," it is pretty predictable with lead singer Isaac Slade's raspy vocals softly churning out melancholy lyrics.
Similarly, the song "Where the Story Ends" is a mix of mushy lines about growing apart and finding yourself, with a dull tempo that could put you to sleep. It's not that the song is bad or unlistenable; it's just unsurprising and lacks creativity.
Some of the better songs, "Syndicate," "Absolute," and "Enough for Now," start out with low-key ballads and then rise to powerful, heart-wrenching choruses. With strong vocals to the tune of both a piano and guitar, these songs definitely bring out the best that the band has to offer.
They are emotional and dramatic all the same; these songs are just edgy enough to refrain from being anything more than spiceless tunes pumping out of your iPod.
The swell of instruments leading up to the chorus in "Say When" and Slade's soft but lengthy croon in "Never Say Never" resemble a less artsy Coldplay sound, but The Fray is certainly no competition to the Grammy winning British band.
As the album comes to a close, it loses what little power that it had, evoking a dead, solemn feeling. In both songs, "Happiness" and "Ungodly Hour," Slade sings about losing what is important to him and how happiness can't find him soon enough. His delivery in both songs is similar as he strings together short phrases between layers of piano ballads, making it hard to tell the difference among the two.
With only a handful of catchy songs worthy of radio play, The Fray has delivered a soulless second album, unmatchable to the debut album. The Fray shouldn't worry though, as tear-jerking music sells, and loyal fan base will be there to bail them out.
The Fray's sophomore release picks up where its first album left off, giving us long piano ballads and lyrics that remind and heal us of our broken hearts.
While the band has established its signature pop/rock tone and has captivated many listeners, The Fray might be a little too bland for our listening pleasure this time around.
High expectations for this album were based on the popularity and success of How to Save a Life. While The Fray is another album perfect for prime-time television show theme songs like "Grey's Anatomy" and "Lost," it is evident that producers, Aaron Johnson and Mike Flynn, didn't stray too far from the band's comfort zone.
The album's first single, "You Found Me," has been a hit on radio stations all over the country; however, like many of The Fray's previous hit songs including "Over My Head (Cable Car)" and "How to Save a Life," it is pretty predictable with lead singer Isaac Slade's raspy vocals softly churning out melancholy lyrics.
Similarly, the song "Where the Story Ends" is a mix of mushy lines about growing apart and finding yourself, with a dull tempo that could put you to sleep. It's not that the song is bad or unlistenable; it's just unsurprising and lacks creativity.
Some of the better songs, "Syndicate," "Absolute," and "Enough for Now," start out with low-key ballads and then rise to powerful, heart-wrenching choruses. With strong vocals to the tune of both a piano and guitar, these songs definitely bring out the best that the band has to offer.
They are emotional and dramatic all the same; these songs are just edgy enough to refrain from being anything more than spiceless tunes pumping out of your iPod.
The swell of instruments leading up to the chorus in "Say When" and Slade's soft but lengthy croon in "Never Say Never" resemble a less artsy Coldplay sound, but The Fray is certainly no competition to the Grammy winning British band.
As the album comes to a close, it loses what little power that it had, evoking a dead, solemn feeling. In both songs, "Happiness" and "Ungodly Hour," Slade sings about losing what is important to him and how happiness can't find him soon enough. His delivery in both songs is similar as he strings together short phrases between layers of piano ballads, making it hard to tell the difference among the two.
With only a handful of catchy songs worthy of radio play, The Fray has delivered a soulless second album, unmatchable to the debut album. The Fray shouldn't worry though, as tear-jerking music sells, and loyal fan base will be there to bail them out.
