The plight of the Lumineers in the wake of "Ho Hey" is similar to that experienced by myriad other bands who experience an enormous hit straight out of the gate: What's next?

At first glance, the answer seemed to be "women's names" as such songs were the first three the Denver-based band released from the new album: "Ophelia," "Angela" and the titular "Cleopatra" all make appearences in the record's first half. "Ophelia" rolls along on the strength of a catchy piano line and was a welcome re-introduction to the band after three-and-a-half years. "Angela" has an appropriately longing vibe, while "Cleopatra" works with one of the band's fastest tempos to date. This trio constitutes what is probably the best music the Lumineers have ever produced.

Slower songs have never been a strong suit for the band, and Cleopatra is no exception to this. The opener, "Sleep on the Floor," doesn't exactly sink its hooks in, and even at around two-and-a-half minutes each, songs like "Sick in the Head" and "Long Way from Home" are remarkably uncaptivating. The worst offender is probably the fallow melodies of "Gun Song," croaked out by vocalist Wesley Schultz like he was hard-pressed to invent a tune five minutes before recording.

Even at 34 minutes, the album can be slow going, particularly due to its best songs being clustered at the front. The band would perhaps be well-suited to incorporate multiple lead-vocalists to break the stretch of Schultz's voice — between Jeremiah Fraites and Neyla Pekarek, they have two more singers waiting in the wings who should be given more showcases.

One of the most compelling, ear-catching moments, then, is the lovely instrumental "Patience" that closes the record, and inspires more contemplation than anything that has preceded it. The Lumineers aren't going to collapse into themselves in the wake of their big hit; while they do have an avenue to creative growth, it seems like a thin and precarious one.