Television appearances on everything from “Gossip Girl” to Letterman to the VMAs. A Grammy nomination and performance. Possibly even more crucial in securing the presence of British band Florence + The Machine in the minds of American consumers were a cover on “Glee” and featured tracks on “Twilight” soundtracks. Of the debut “Lungs”‘ three-million sold, American sales accounted for half a million dollars. In short, Florence Welsh and co. did not need to fret about breaking America when creating their follow-up.

Even so, an American influence can be found throughout Florence + The Machine’s sophomore album, “Ceremonials.” The first track to be released from the album, “What the Water Gave Me”, is a slow-building rocker that starts out with a bluesy guitar riff that would not sound out of place on a Fleetwood Mac track. Then an old-school soul organ sneaks in. Still, the song retains the trademark grandeur of the band; harp plucks, soaring choir, melodramatic lyrics referencing the Greek god Atlas and British author Virginia Woolf. Even more obviously indebted to American musical traditions is “Lover to Lover,” an R&B piano banger inspired by the likes of Otis Redding and Freddie King. As witnessed by her tribute performance to Aretha Franklin at this year’s Grammy Awards, Welsh’ vocals are just as soulful as they are ethereal. Fortunately, Flo gives herself yet another opportunity to belt the blues, namely on album closer, “Leave My Body.” The song is probably the closest to gospel that Welsh has come so far and is all the better for it.

More standard Flo fare is also found on “Ceremonials.” The album’s second single, “Shake It Out,” is an evil twin sister to “Dog Days Are Over;” huge beat, some tambourine, an ebullient sing-along chorus and lyrics about leaving dark days and demons behind. It’s also virtually impossible not to dance to. Similarly, “No Light, No Light” is territory that the band has already chartered on “Cosmic Love” from Lungs yet the tribal drum bombast still works.

Apart from “Seven Devils,” on which Welsh overcooks the spook shtick, there is nothing outright ghastly on “Ceremonials.” “All This And Heaven Too” has a chorus so saccharine it belongs in a future Christmas ad but it’s harmless fluff. By “Heartlines,” the tribal drum routine has become a tad tired and the nonsense lyrics about “following the heartlines on your head” do nothing to save the song. “Spectrum” remains a curious creation; even closer to being a disco song than the band’s version of “You’ve Got the Love,” it is essentially a gothic disco song with a harp breakdown.

Despite its varied material, “Ceremonials” is still a more cohesive album than “Lungs,” largely due to the production upgrade. There are no diversions like first-ever single, “Kiss With A Fist,” the raw garage-rocker that launched the band’s career. On “Ceremonials,” the songs have also become remarkably longer; “Kiss With A Fist” clocked in at two minutes and four seconds whereas nearly all the tracks on the new album pass the four minute mark. As a consequence, like the ever-present ghouls in Welsh’ glossary, your mind sometimes begins to meander about, looking for the next haunting. Notwithstanding a few lulls in excitement, “Ceremonials” is not only an advancement in production for Florence + The Machine, but also an excellent album that demands to be listened to from beginning to finish.