Orville Peck, “Stampede.”

Vol. 1 was just the introduction. Queer country troubadour Orville Peck introduced a new direction with his first EP on Warner Records in May, duetting with artists as varied as Willie Nelson, Bu Cuaron and Elton John back in May. We say Peck experimented with pop, Banda and even Americana and jazz (“Chemical Sunset” with Allison Russell) in effective ways that never felt out of place within his own songbook.

When he sang in Spanish with Cuaron on “Mítenme,” it was magical.

Rather than a diversion into collaboration and into different genres, we now know it was just the tip of the iceberg. He’s taken the project’s original seven tracks and added eight additional ones with contributions from the likes of Beck, NorCal Grammy winner Molly Tuttle, Australian dance queen Kylie Minogue and DJ Diplo (together!), country’s new stars like Margo Price and Mickey Guyton and pop up-and-comer Teddy Swims.

Stampede takes the ethos of the introduction and pulls it in even more directions. After kicking off with the first three songs of Stampede Vol. 1 — the Nelson duet on the cover of the queer country anthem, Midland duet “The Hurtin’ Kind” and John’s “Saturday Night’s Alright (For Fighting)”— Orville Peck introduces the first new tune, “Back At Your Door.” This shuffling Western with singer-songwriter Debbii Dawson has all the vibes of now-defunct The Civil Wars, thanks to Dawson’s icy upper range. The pair sometimes trade lines and sometimes even thoughts, just like Joy Williams and John Paul White used to do.

“Back At Your Door” (not a Maroon 5 cover) pairs well with the Russell duet, “Chemical Sunset,” so it makes sense that that older song is the one that follows. The Beck collab, “Death Valley High,” comes next. The ’90s alt-rock icon recently collaborated with the Black Keys, so his turn on this short bluesy and lounge-like rock single, punctuated by horn blasts and skittering guitar strumming isn’t as much of a surprise. But there’s more classic Beck here, recalling “Where It’s At” and thanks to the electronic accents.

After the Cyrus and Cuaron (still magic) older songs, the album arrives at a surprising cover of the Magnetic Fields’ “Papa Was a Rodeo.” The surprising part is that Orville Peck’s deep baritone was tailor-made for the slow deep drawl of the original. But this rendition is sped up—matching the the sound of his duet partner, Molly Tuttle, who also sings first. The connotation shifts. It’s more uplifting thanks to the mandolin, banjo, fiddle and harmonica interplay.

“Midnight Ride,” with Minogue and Diplo, is a pure banger. “Set free/ Still never tied down/ All wind and no way/ Do You feel me?” Minogue purrs on the second verse, against a club beat. But among all that is the twangy guitar line, Peck’s old-school singing and spoken-word lines and whistling accents. So the song keeps its Western edge. It fits squarely in both buckets at the same time.

The Teddy Swims collab, “Ever You’re Gone,” goes in the completely opposite direction with mournful twang and brush-dragged drumming. Less than a minute in, when a muted choir and organ joins in the background, the song takes on a Motown ballad flavor. The vibe is right up his duet partner’s sleeve. The same holds true for “You’re an Asshole, I Can’t Stand You (and I Want a Divorce),” with Margo Price. The title reads like it was pulled from the “midwest farmer’s daughter’s” mind. The two have fun with tempo changes, and the ringing, possibly delayed guitar picking sounds like 1980’s The Edge playing with Dolly Parton. Or, it’s like Price and Peck wanted to write the opposite of “Islands in the Stream.”

Driving pop-rock tune “Where Are We Now?” (not by David Bowie) is much less vengeful. The duet with Mickey Guyton is as close to a straightforward pop-rock song on the entire album, breezing by quickly and setting up the Stampede’s final movement: the existing Nathaniel Rateliff duet (“Conquer The Heart”) before rounding out the set with TJ Osborne (Brothers Osborne), Waylon Payne and Jake “Fancy” Hagood on a faithful but modern rendition of Glen Campbell’s iconic hit, “Rhinestone Cowboy.” The song doesn’t benefit from the sleeker production, so it’s the closest thing to a miss the album has.

On the Vol. 1 EP, The Elton John tune was the lone outlier, but with the full-length album, Orville Peck fills in the gaps to end up with one cohesive whole on Stampede.

Follow editor Roman Gokhman at Twitter.com/RomiTheWriter.