Andrew Bird captures 'Noble Beast' with folk

By Aitor Zabalegui

Andrew Bird is a one-man indie band. He can seamlessly transition from guitar to violin to glockenspiel on a single track, and he has a whistling proficiency that puts Bing Crosby to shame.

"Noble Beast" is one of Bird's many solo albums, yet he remains a relatively unheard maestro in the indie world.

"The Mysterious Production of Eggs" should have been his breakthrough album in 2005, with the sweeping "Fake Palindromes" still his best song to date.

While "Beast" does not contain such a standout track, it is definitely his most ambitious album yet and should finally gain him the exposure he deserves.

This will be thanks to his strong first single, "Anonanimal," with its scampering, two-pronged guitar and staccato violin introduction leading into a simple but vivacious jam.

"The seemingly innocuous pleocostomus, though posthumous, they talk too much," he half-speaks amid an offbeat swirl of guitar and crashing cymbals.

Bird has always been known for dictionary-referencing lyrics that span from ingenuity to meaningless wordplay, and he balances them well throughout the album.

The poignant "Effigy" is humbled, depressive folk with Bird crooning lyrics about "the words of a man who's spent a little too much time alone." The female backing vocals and choked-up violin solo make this track among the best of the bunch.

It is when Bird is at his most eclectic, however, that he becomes least interesting. "Not a Robot, But a Ghost" incorporates distorted fuzz with Middle Eastern melodies and heavy drumming.

At first, this sounds very appealing and seems to blend well, but with the introduction of a drab piano riff, the track becomes too layered and abrasive.

Just as the song begins to clash to a perhaps intentionally unbearable degree, Bird cuts into a divergent build-up, but simply returns to the same harsh arrangement.

Whistling is prominent on "Beast." The whistled introduction on the opening track, "Oh No," sets the care-free mood that complements lines such as "arm in arm we are the harmless sociopaths."

Bird out-does himself lyrically on "Tenuousness," the finest track on the album, with its frolicking bass line and interweaving instrumentation.

"Love of hate acts as an axis. First it wanes and then it waxes, so procreate and pay your taxes," sings Bird.

It's as if he's sending a message to disgruntled romantics during these troubling economic times -- love may be irrepressible, but let's not forget our civic duties.

"Masterswarm" has an introduction reminiscent of a Nick Drake song, with Bird singing in a Thom Yorke-like falsetto.

As in most of the songs on "Beast," the track suddenly changes direction, as Bird abruptly evokes the feeling of a sultry Latin dance routine.

He even slips in some whistling between verses, backed by a guitar tremolo reminiscent of "The Good, the Bad and the Ugly."

The album seems to stall in its last quarter, with each song a sluggish dirge.

"Souverian," a song about a lost lover, has typical Bird wordplay. He pines, "Souverian we felled her. So very young, so very young were we."

The song never seems to take shape, however, as several instances of climactic crescendo are squandered in a manner that could either be considered artistic or an unfortunate waste.

For those disappointed by Bird's restraint, the closing track, "On Ho!" will not provide any consolation. Despite the enthusiasm of the track's title, it is more of a cheerless bon voyage than a dynamic send-off.

The morose violin leaves listeners feeling like they are watching Bird depart from the shore rather than coming with him.

Bird will return with his incredible, multi-instrumental live show for a two-night stint at The Fillmore, in San Francisco on Feb. 19 and 20.

Grade: B

Contact Aitor Zabalegui at (408) 551-1918 or azabalegui@scu.edu.