Origin stories don’t get much simpler than this one: a group of strangers from all ends of the country attend and play open-mic nights at Conor Byrne Pub in Seattle. They are all talented, lively musicians. Just like that, the group realized they can sing together. The Head and the Heart is formed.

Of course, there are the details of selling albums in homemade sleeves of denim, signing with Seattle record label Sub Pop Records in 2010 and opening for names like Dr. Dog and Vampire Weekend to spice up the band’s origin story. The multifaceted talent of the members alone are conversation pieces: pianist Kenny Hensley, bassist Chris Zasche, drummer Tyler Williams, vocalist and multi-instrumentalist Charity Rose Thielen and singer/guitarists Jonathan Russell and Josiah Johnson.

Even more captivating is what The Head and the Heart have produced. Known for a country-folk sound comparable to Crosby, Stills, Nash and Young or Fleetwood Mac, the group’s first two albums (“The Head and the Heart” from 2010 and “Let’s Be Still” from 2013) were artfully crafted, soft-spoken and intimate. Even those who are barely familiar with the band will remember singles like “Rivers and Roads” and “Shake.”

Their latest album, released Friday, is clearly something new. “Signs of Light” is more complex and, in a literal sense, louder than the other records. That’s not to say the band is selling out to the pop machine. In fact, it’s the complete opposite.

“Signs of Light” only came about when The Head and the Heart took a much needed break after touring for four years nonstop. Each member went their own way, from Haiti to China to the wilderness of the Canadian Rockies, according to the band’s website. That was 2014. The group came back together last summer to produce its first album for Warner Bros. Records.

Though it was recorded in Nashville, the album has a new distinct West Coast flavor woven into the folky sounds that made the band famous in the first place. The opening track (and leading single) “All We Ever Knew” was actually written in the “Let’s Be Still” era, but it didn’t seem to fit until now. Upon listening, it’s clear as to why. It’s thick with harmonies and upbeat rifts, “la la la’s” and even a fabulous violin solo, courtesy of Thielen. Put simply, it’s wonderfully bright.

In fact, the entire album just glows with end-of-summer vibes. Even some of the slower tracks, like “Dreamer” and “Oh My Dear” have a breezy, youthful feel. Yet, this almost happy-go-lucky feel might not be appealing to old-time fans. “Rhythm & Blues” is a sweet, juke-box ode to the classics with lines like, “Stepped on my blue suede shoes / Watch Elvis go crazy,” a far cry from the ballads of albums one and two.

Some of the arrangements push the boundaries of what The Head and the Heart is known to represent: sweet, thoughtful lyrics on top of dialed-back, carefully cultivated harmonies. “City of Angels,” though a stylish ballad dedicated to Los Angeles, doesn’t completely fit with the backwoods vibe that’s expected.

Despite this, there is no way that the band will lose traction in the indie-folk world. The Head and the Heart fans are all-or-nothing kind of people. The band’s official Instagram is littered with reposts of amazing artwork done by fans, illustrating the band’s passionate lyrics.

It’s this support that seems to keep the band and their fans a tight-knit community. In March, the band announced that Johnson would be skipping out on summer tour dates. The band released a statement on their website and on social media saying that Johnson “is battling addiction and focusing on his recovery.” Comments on the Instagram post included “Sending my love to Josiah!” and “Nothing but love and respect. Hope to see you back soon!”

His absence did not show on “Signs of Light.” The album ends with the six-minute title track, a somber ballad of Johnson’s own creation. “When you sleep, what do you dream?” he sings. “I need to know you’re thinking of me.” It’s a sad and soulful way to end the album, but in no way is it a downer.

In fact, the entire album is a perfect mesh of emotions from all points on the spectrum. From the slower, repetitive “Colors” to the upbeat “False Alarm,” there is something for everyone. And “Signs of Light” is not without the memorable lyrics the band is so often known for. Perhaps the most important come from Thielen’s “Library Magic.” She reminds us that “there will always be better days.”