Florence Welch is a powerhouse. The British frontwoman of Florence and the Machine often turns heads with her fiery locks and glitzy outfits. But her most valuable asset is undoubtedly her voice, which only the fullness of surround sound seems to do justice.

The release of vocal tour de force “Lungs” in 2009 immediately catapulted Florence and the Machine into the spotlight. The tremendous buzz surrounding the album led to six singles and an extensive tour that prevented further recording until earlier this year.

“Ceremonials” could simply ride the coattails of the first album’s monumental success, but it’s more than worthy as a masterpiece on its own. It includes all the same ingredients that worked the first time around, woven together with an emboldened new depth as Welch continues to push the musical envelope.

Right from the beginning, “Only If For A Night” is a welcome assault on the senses. Harp melodies cascade, percussion bubbles, and powerful piano chords thunder, paving the way for Welch’s voice to enter in triumph. Staccato violin notes wend their way through the song, superbly offsetting the vocals.

A subdued organ begins “Shake It Out,” but attentive fans know that the album’s first single doesn’t keep quiet for long. “It’s hard to dance with the devil on your back/So shake him out!” Welch commands, her words reinforced by the unyielding drumbeat and tambourine. This song conjures triumphant images of a great assembly of people raising their voices as one.

Next, “What The Water Gave Me,” with its characteristic harp strains, is a darker version of earlier Florence song “Cosmic Love.” The song bides its time with ticking percussion and steadily builds until the last ninety seconds, in which Welch unleashes an impressive whirlwind of vocals underscored by a solid bass guitar. It’s a high point on the album, a driving wall of sound that makes listeners wonder what Welch could possibly have up her sleeve next.

By contrast, “Never Let Me Go” is stripped down and sincere, an echoing ballad reminiscent of Céline Dion. Welch’s voice trembles with emotion at the softer parts, and then swells seamlessly to reach the grand higher notes her voice was truly made for.

“Breaking Down” introduces a dreamlike, psychedelic feel. It uses swaying strings and a vocal effect to make it seem as though Welch is simultaneously whispering and shouting. The out-of-tune piano adds to the pleasantly distorted quality.

“Lover To Lover” opens with a deliciously catchy blues riff on the piano. Heavy drumbeats propel the song forward until it achieves a full-fledged gospel sound, complete with a towering choir effect. It’s a new direction for Welch, but considering the power that infuses her voice, it’s both a prudent and an effective one.

Next, “No Light, No Light” combines forceful lyrics with thundering drums. Soaring harp melodies and a healthy dose of background strings layer the song to a colossal height. At one point, all instruments cut out, leaving Welch’s voice to hold an impossibly long note in a very poignant moment.

“Seven Devils” immediately lives up to its name, beginning with an ominous cymbal crescendo and a haunting piano melody. Violin bows scratch a skittering rhythm over high-pitched strings: the hair-raising musical equivalent of fingernails down a chalkboard. It’s a haunting track that rounds out the mood of the album.

Then comes “Heartlines,” a call and response of sorts. “Just keep following the heart lines on your hand,” it repeats. The drums, untamed background vocals and hand clap sounds give this track an almost tribal groove.

“Spectrum” opens on a single trembling violin over which Welch’s voice lifts and plunges, demonstrating her full vocal range. The track then dives headfirst into a galloping assembly of instruments. The harp features prominently in this song, a sweet recollection of fan favorites like “Dog Days are Over” from the first album.

“All This and Heaven Too” is a beautiful study in fluid key changes and angelic vocals. The tambourine resonating in the background adds to its sentimentality.

The final track, “Leave My Body,” again borrows from gospel, its chorus of soulful voices cemented by a slapping percussion. Its ending is positively ghostly, with Welch’s boundless voice fading into nothing more than an ominous breath.

As its title suggests, “Ceremonials” carries an unmistakably spiritual undertone. Florence’s gospel-inspired vocal stylings lend to its tangible movement upward into something greater than itself. Welch herself says on the band’s website that her music is meant to be “overwhelming and all-encompassing,” and she wants her listeners to “explode with” it. For anyone else, this would be setting the bar high. For Florence and the Machine, it’s every performance.

Lindsey Tulloch can be reached at [email protected].