Pacific Northwest indie label Sub Pop has let Band of Horses out of the stable a second time, but something’s been lost since the group’s first run.

“Everything All the Time” was released in March of 2006 and quickly became a surprise summer success, pitting lead singer Ben Bridwell’s high-pitched voice and catchy lyrics against guitar riffs that bordered on being folky. The effect was crisp and emotional, spooky but enjoyable.

Since then, Band of Horses has moved from Seattle to South Carolina, and on their follow-up, “Cease to Begin,” Band of Horses seems to have abandoned their eerie edge, both lyrically and vocally. They’ve instead embraced their down-home impulses and come closer—perhaps dangerously close—to country-rock.

The first track on the album, however, is misleading. “Is There a Ghost,” opens with echoing guitar notes and Bridwell’s voice before picking up the beat and plunging into loud, distorted chords. It’s extremely reminiscent of their most popular track on the first album, “The Funeral”—it’s the sound that made “Everything All the Time” so exciting.

But the first song’s gallop slows to a canter. “Ode to LRC” begins with formulaic pop-country guitar chords, and despite the aggressive tone of Bridwell’s voice, the song feels empty. The last minute of the song is its best: Bridwell simply sings “The world is such a wonderful place,” adding “La-di-da” over a smoother, wistful guitar sound.

“No One’s Gonna Love You” ends up sounding like a cheesy Garth Brooks ballad. “Marry Song” combines a muted organ and lazy drum beat with lyrics like “I’ll marry my lover” in an accent and overall mood that makes you feel like you’re floating down the Mississippi.

But Band of Horses again abandons this path with “Detlef Schrempf,” aiming for something similar to their older sound. Bridwell ditches the accent and the song relies on creative, melancholy guitar lines; instead of another ballad, we finally get a more characteristic indie lullaby.

Halfway through the album, Band of Horses takes their best shot at compromising between their two conflicting sounds. “The General Specific” takes their songwriting ability and applies it to a barn-burning beat. Even Bridwell seems to be having more fun, taking more risks with his voice.

The album closes out with the tracks “Cigarettes, Wedding Bands” and “Window Blues.” The former is angsty and Oasis-like, and it’s probably the album’s most redeeming track. The latter is beautiful in its own right, but in the larger context of the album, it’s just more back-porch country-blues. Still, it ends the record nicely, serving as a perfect soundtrack for the album cover: a half moon hanging over still water.

This isn’t an album to write off. With plenty of water and sunshine, it may be a grower. The country sound might be jarring for the group’s more indie fans, but maybe they’ll give them a break. Band of Horses doesn’t deserve the glue factory yet.

—Reviewer Andrew F. Nunnelly can be reached at nunnelly@fas.harvard.edu.