Three years after “The Suburbs,” Arcade Fire comes back with a new double album, “Reflektor.” Those who thought “The Suburbs” was too boring and/or self-serious will be pleasantly surprised. “Reflektor” has a simple goal: to make you dance. With LCD Sound System’s James Murphy producing, the Montreal-based band abandons the nostalgia of suburban life to explore the myth of Eurydice.

While the story of lost love at the core of this myth is tragic, the songs are not as angsty as they were in “The Suburbs.” The two released singles “Reflektor” (with a David Bowie cameo) and “Afterlife” are a good representation of that. Both dancy and moody, they reflect Arcade Fire’s desire to leave their familiar territory and take new roads. The band summons the power of rock, disco, electro and borrows from Haitian and Afro-Caribbean rhythms to deliver a dense fourth album.

The second disc contains the most interesting songs of the album. The slow lament of “Here Come the Night Time II,” the groovy and sensual chorus of “It’s Never Over (Hey Orpheus)” or the dark electro beat of “Porno” and the joyful single “Afterlife,” all these songs feel newer with each listening. It ends with the beautiful “Super Symmetry,” an harmonious duet between Régine Chassagne and Win Butler, reminiscent of Peter Gabriel’s “So.” Though one song seems out of place, ironically titled “Awful Sound (Oh Eurydice)”, it is still worth listening for its great intro. Noted also, the strong presence of Régine Chassagne throughout the album, singing in French and English.

Of course Arcade Fire wouldn’t be Arcade Fire without the sadness and dark lyrics. Particularly in songs like “We Exist” or the pop-rock  “Normal Person” which sounds like it was recorded at some angry teenager’s garage. And that’s what I love about this album, it feels like a freshman album even though it’s the band’s fourth.  Thus, I’d recommend to the skeptics to give “Reflektor” a try. A new band has arrived in town. It’s Arcade Fire.