The Fray's new album more of the same, falls short of other artists' new sounds

When The Fray debuted a few years ago, they were simultaneously bright, shiny, introverted and reflective. Isaac Slade's voice was unique and their music added to the increasing singer-songwriter era that was exploding at the time.

Now, with the release of their self-titled new album, it's more of the same. The spaces not filled with dreamy piano are covered by guitar harmonies.

The vocals are easy on the ears for the most part, and the lyrics are about finding fault in heartbreak and wishing it all hadn't happened.

Many times I've found maintaining a sound refreshing, but this time it's just boring.

Every song is about the same speed-a bouncy, head-bobbing churn that is careful not to be so fast that it seems edgy. That might scare off the sensitive young things that are listening.

In their attempts at slightly more abrasive material, like the single You Found Me

God is smoking a cigarette while He gets chastised for letting the world go to the dogs. But the confrontation is muddled with the same beat, and the exact same feel as How to Save A Life.

Never Say Never is a lot of the same, but in this one song it's impossible to deny the soul or the nearly flawless melding of the piano tones and Slade's vocals. It is the only song with anything of note.

The Fray, and their album of the same name, is the sound of the early millennium, just like slightly faded counterparts Switchfoot and Gavin DeGraw. They haven't changed, but unfortunately the music scene has, bringing in some more interesting artists and sounds.

I'm as afraid of change as the next person, but it feels like The Fray endeavored to stay the same instead of broadening their skills and showing what the last few years have done to their sound and their emotions. That isn't going to raise them above the bit of progress that has been made since we rang in 2005.