Formed in the belly of Madison, indie pop-rock outfit Pale Young Gentlemen has grown into the golden child of the local music scene. With its follow-up album Black Forest (Tra La La), the band is branching out (pun intended) to achieve national recognition.

The band formed in 2004 as a three-piece set with brothers Michael and Matt Reisenauer and friend Brett Randall and soon gathered Andrew Brawner on bass and Elizabeth Weamer on cello (therefore slightly bending their truth in the “gentlemen” name). After the debut of its self-titled CD in 2006, the band became an eminent and well-received part of the Madison music culture.

Pale Young Gentlemen proves there is no doubt Madison knows how to pick them. Dusting off what are now perceived as antique instruments, the band gathers the eclectic sound of xylophones, harps and french horns to create a genre-bending sound that melts soothingly into the ears of listeners in Black Forest.

The first track — and arguably most emotionally-driven track — “Coal/Ivory” starts with the frenetic plucking of a guitar as lead singer Michael Reisenauer’s low bellow guides into the elegantly haunting climax produced by the panic-stricken cymbals. The premiere track also sets the narrative structure as each following song provides a short tale set within a time limit.

Jaunty tunes “Kettle Drum (I left a Note)” and “Wedding Guest” are the most memorable, acting as what could be a soundtrack to a post-millennium production in Snow White’s whimsical woods abundant in fuzzy doe-eyed creatures — the combination of a toe-tapping xylophone and gentle flute had me wondering if I should whistle while I work. Nonetheless, the songs are well-crafted, intertwining the array of instruments into an innovative melody that strays far away from the sing-songy synthetic beats found on radio airplay.

In fact, the album itself relies heavily on Pale Young Gentlemen’s exceptional musical ability rather than by luring an audience in through an irritatingly catchy hook. The songs are meant to be played as an experience from start to finish instead of repeatedly spouting a one-phrase line like “umbrella” or “no air” into listeners’ heads.

Although at times their heavy reliance on such peaceful hymns backfires, like in “I Wasn’t Worried” and “Marvelous Design,” which enter a drone-like dimension that lacks the livelihood to keep listeners tuned in.

Luckily, the songs “The Crook of my Good Arm” and “Our History” relentlessly hold viewers as they are carried by the twisted, lyrical plotline moving beautifully through an enriching voice that sings in the latter song, “I’d like to see my father/ We fit together.” The shifting tempo of the violin serves as an elusive conductor through the rising and falling action of the storyline.

Pale Young Gentlemen certainly bring an innovative sound to the area, breaking the three-piece ensemble by fearlessly incorporating new sounds into their style. As this promising act tours the country, we can rest assured they will proudly carry on Madison’s exceptional taste.

3 1/2 stars out of 5