Win Butler and company have moved away from The Suburbs.

On Reflektor, the fourth Arcade Fire LP, the band takes every ingredient of the formula they used to capture the 2011 Grammy for Album of the Year and explode them into a groovier and expansive dimension.

The angst and paranoia-ridden lyrics are still there, and the band’s obsession with the grandiose, too, but the Montreal-based rockers are aiming for a sound and scope that surpasses everything they’ve done to this point.

With help from producer James Murphy (of LCD Soundsystem fame) and David Bowie (of David Bowie fame), Arcade Fire has crafted an album that surges and pulses with energy.

The album begins powerfully but then bleeds into a euphoric second half.

On this album, the rhythm section takes center stage for the first time with powerful bass lines and tight percussion, and the layers of distorted guitars and keys are simply passengers on their furious crescendos.

The album kicks off with lead single “Reflektor,” a sleek and funky seven-minute epic that quickly alerts the listener that this is not The Suburbs 2.0.

Arcade Fire experiment with samples and genre shifts like never before, with appearances of disco-laced grooves and glam rock bursts of energy.

The bass line in “We Exist” sounds like it was mined from a long-lost Michael Jackson song. “Joan of Arc” begins with a punk salvo before descending into a disco-like haze.

One of the album’s standouts is arguably “Here Comes the Night Time,” with an infectious keyboard hook and jarring, but still pleasant, tempo shifts.

The chorus in “Awful Sound (Oh, Eurydice)” brings to mind The Beatles or Crosby, Stills, Nash & Young if they had harmonized over synthesizers instead of acoustic guitars.

Nearly every track on Reflektor deserves a listen. Arcade Fire is a band that with nothing to prove, but now they’ve put out an album that is unflinchingly ambitious.

It is sonic departure, or rather a sonic expansion, when compared to their previous albums.

Reflektor plays like the soundtrack of a night that was supposed to be low-key and ordinary but instead veered into a cascading torrent of events that cannot be stopped.

It sounds tighter and bigger than The Suburbs, and it churns at a rate Neon Bible and Funeral could never have aspired to equal.

Clocking in at over an hour, the album may turn off the casual listener — seven of the 11 tracks surpass five minutes — but those who stick around should be adequately rewarded.

Arcade Fire has made an album that continues their upward trajectory, leaving their musical peers holding on for dear life in crest of their wake.