While Company Of Thieves‘ 2009, Wind-Up Records album, Ordinary Riches, was a solid debut, much of the record suffered from sounding like an amazing singer backed by talented, but meek musicians. Like the band were simply acting as a vehicle for Genevieve Schatz’s incredible vocal talents. But on their newest, Running From A Gamble, Company of Thieves seem more confident and sound more like a cohesive unit. This yields an edgy but accessible alt-pop album that has as many snarling guitar riffs as it does lush vocal hooks.

After the first listen to Running From A Gamble, it’s Schatz’s voice that most obviously stands out. To say she’s a good singer is a vast understatement. She packs a wallop in her voice that’s rarely seen in today’s indie rock landscape. And it’s not just her range -- it’s her versatility. She can go from delicate to sultry to a classic rock howl in mere seconds without straining.

But upon repeated listens, it’s hard not to hear a band that feels what they’re doing. Musically, it’s a lot more muscular than the majority of Ordinary Riches. Most tracks are pristine in production, but are energetic and full of biting power-pop antics that are no too far off from the big, anthemic material the Foo Fighters rattle off these days. Yet many of the songs are still rooted in 1970′s FM radio with a bluesy low-end of a Deep Purple or even the occasional folk Fleetwood Mac-esque slow-burners.

The band (which has gone through many lineup changes but still features original member Marc Walloch alongside Chris Faller, Marcin Sulewski and Eitan Bernstien) are taking pop music to the complete opposite level of where most are pushing it these days -- back to a soulful, lively rock ‘n’ roll feel and not a digitized, lifeless e-single.

“Death Of Communication” creeps in with a driving rhythm section with Schatz vocals snowflake-falling before erupting into a massive, cloud clearing chorus. The off-kilter guitars of “Modern Waste,” and the Zeppelin-like romp of “Gorgeous/Grotesque” really show the group is trying to move past their quite well-known bouncy, pop-rocker “Oscar Wilde.”

Speaking of their semi-hit “Oscar Wilde,” the band exchanges its punchiness for a horn section and a beach party limbo vibe on the unreasonably fun “Tallulah,” which will surely be featured in the trailer for Bridesmaids 2 (whenever that get made). And not everything is a complete rocker or up-tempo affair, “Never Come Back” is a darker, angrier number that would easily fit on Fiona Apple’s Tidal.

The production should also be recognized as the instruments are sharp and crisp, which is no doubt difficult to achieve while still maintaining a rich, layered sound as the album does. One minor issue, however, is that sometimes the record is too clean and too glossy. A few rawer moments might make the songs even more gritty and urgent. But that’s particularly insignificant when judging the record as a whole.

Running From A Gamble is an impressive sophomore effort and really works to show that Company Of Thieves is growing as a band. The songs this time around are more vibrant in feeling and more finely crafted in their musicianship. “Yeah, I won’t go quiet!” Schatz bellows near the album’s conclusion, and that’s definitely a good thing.

Purchase Running From A Gamble at Companyofthieves.shop.musictoday.com

Company Of Thieves -- “Tallulah” (Live, Acoustic, in a van)

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COMPANY OF THIEVES
8:15 p.m. Friday, 6/10
Otto’s, 118 E Lincoln Hwy, DeKalb, IL
21+, $10.
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