Circa 2005 the Canadian music scene began to be stirred up and investigated by American indie lovers intrigued by discoveries of The Arcade Fire, The Dears, or Broken Social Scene, among others. Malajube has certainly benefited from the heightened interest, but unusually so, acquiring an international fan-base without catering to an English-speaking audience.

Characterized by epic orchestration and multilayered instrumentation, Canadian indie rock bands have developed a cohesive sound that Malajube employs, but to an much brighter end overall. The band’s third release, “Labyrinthes,” is driven by poppy, upbeat, playful tunes without sacrificing this intricate quality.

Opening with the grandiose, seven-minute “Ursuline,” which begins with a serene piano melody that descends into choppier guitar riffs, the album begins with an air of caution. This sentiment deteriorates as the album continues, making “Labyrinthes” a sonic journey marked by tranquil lows and exhilarating highs.

Though the album is driven primarily by the classic rock band set-up of drums, guitar, and bass, “Labyrinthes” is also filled with interesting quirks that make it clear that the band has no problem with playful production and instrumental experimentation. Among the bells and whistles, tambourines add a cheerful feel to ”Le Tout-puissant,” and the echo effects on the vocals in “333” provide a mystifying sense of intrigue.

Indie lovers have shown affinity for foreign acts in the past, but relatively few bands gain fame without singing at least partially in English. This is not entirely unexpected, as lyrical sophistication often functions as a draw to lesser-known music, giving listeners more than the mindless, bubblegum pop dribble heard on the radio. Malajube, however, have achieved surprising success all while being incomprehensible to a majority of American listeners. For those who don’t speak French, Malajube’s disinterest with singing in English may have removed one of the oft analyzed and praised portions of rock, but it has done so without diminishing their musical appeal.

While an understanding of the lyrics might allow listeners to further appreciate Malajube’s talent, this is certainly not necessary to enjoy the music that the band has crafted. In fact, to non-francophone ears, the French lyrics add a heightened sense of mystery and intrigue to the album. To the common American listener, the focus on the vocals is no longer their meaning, but rather the manner in which they are expressed.

Singer Julien Mineau’s vocals range from the drawn out and mysterious chants of “Christobald,” creating a contrast with the up-tempo rhythms that bracket the song, to the wistful and smooth vocals of “Casablanca.” It is with this variation that Malajube adds the complexity that their album title, “Labyrinthes,” implies.

Malajube’s comspositions also rely heavily on keyboard. This prominent usage allows Malajube to highlight the intricacy of their songs and the range of their vocal expression, regardless of the subject matter of their lyrics, better than their guitar bass and drums alone could do. Simple keyboard lines mirror the vocals, swiftly changing from more fluid melodies during the soothing croons of “Dragon de Glace” to the blaring staccato and raspy French interspersed throughout “Porte Disparu.”

Many praises aside, “Labyrinthes” may not always be the most engaging album. However this does not diminish the band’s accomplishment. By focusing on upbeat and lighthearted melodies, Malajube has succeeded in crafting an album that will capture a broad audience appreciative of the spirited songs despite the potential language barrier.

—Staff writer Erika P. Pierson can be reached at epierson@fas.harvard.edu.