Whatever ambitions The Whags have as a band they reserve for their music, evident in their wide-eyed second LP All Along the Water There’s a Mountain Song. Tracked at Woodinville’s famed Bear Creek Studios, the album vividly encapsulates the wide net they cast over Americana, replete with southern-rock guitar licks, the dual vocals of bluegrass, and the same enchanting aura of classic jam bands. There’s a flash of Fleet Foxes in the compositional matryoshka of “Summer.” Porter’s and Tevin’s dueling guitars on “Pink” summon the Allman Brothers. The ghost of Exile-era Rolling Stones haunts the late-night camaraderie of “Little Stick” and Tan’s giddy piano on “High Resolution.”

Though they officially formed in 2017, the quintet’s roots go back to childhoods spent in the greater Seattle area, where keyboardist Jordan Tan once laid down bluegrass tunes with guitarist Chris Porter. After linking up with fellow guitarist Liam Tevlin, drummer Cam Hancock, and bassist Charles Wicklander, the group set about fashioning a style of music at the vertices of their mutual interests: roots rock, tight musicianship, and the intimacy that comes from jamming for hours on end. Since then, The Whags have built a dedicated following in thrall with their live presence. Wherever they choose to travel, there’s a refreshing unseriousness to their gait, an unwillingness to profess that their music is anything more than it actually is — musician friends synced up in the moment and recorded to tape.