Second albums can be tricky business. For every band that matures with its sophomore effort, there are countless others who fail to live up to the promise of the debut. Local indie pop/rock band the City Life’s debut, 2006’s What’s That Sound?, was, like many first albums, a solid yet underproduced effort showcasing a talented young band grappling with their influences and trying to find their voice. On the follow-up Gone is the World, the City Life takes a leap forward with newfound confidence. The beats are sharper, the guitars bark louder, the keyboards are more prominent, the bass grooves harder, and the vocals are lively and energetic. The band not only refines the Franz Ferdinand-inspired dance rock of its debut, but they also deliver a more dynamic album, incorporating harder-edged alt-rock and lush, mournful ballads.

As the band shows its swagger with the expanded scope, it also reveals a new side: pop song craftsmen. The songs are melodic from the vocals down to the bass lines. The lead track and first single “White Elephant,” with its bouncy guitar riff over a hard disco beat, is catchy enough to induce insomnia.

While Gone is the World is full of sing-along moments, there are also tracks that show a true knack for composition. “Microphones” eschews traditional “verse/chorus” arrangements and allows the song to unfold naturally, building to a climax of paranoia as front man Leo DeJesus sings, “The walls are filled with microphones.” The arrangement has feel of classical sophistication, but it still rocks—hard.

On the opposite end of the spectrum, the band uses melancholy melodies, layered vocals and a sugary keyboard riff to unleash their inner Pet Sounds all over the ballad “Beebee Guns and Applesauce.” The song is a smart, well-orchestrated lament about the loss of childhood innocence, one that shows that growing up is hard to do, but as Gone is the World proves, it can be done gracefully.