The mid-point in Bird's transition from neo-hot jazz violinist to post-modern singer-songwriter was 2005's The Mysterious Production of Eggs, which remains the high point in his discography. It shimmers with the energy of change. Since then, Andrew Bird has not shimmered as vibrantly, but his musical energy certainly hasn't flattened out, either. 2007's Armchair Apocrypha marked his transition to indie rock. Though it's not as if his sound became indistinguishable from Modest Mouse's, the record leaned far less heavily on what had earlier been Bird's calling cards: violin, whistling, and the sounds of yesteryear. Instead, the album relied more on electric guitar and familiar indie rock song structures.

On Noble Beast, Andrew Bird continues his slow journey away from the perky tempos and old-fashioned motifs of his early years. At the same time, however, his latest batch of songs are more open, allowing room for his trademark tonal colors to rise back to the surface. On opener "Oh No," Bird is heard whistling and bowing once more. These elements take center stage, while the rock band bits are pushed back in the mix.

Andrew Bird the singer also takes more of the spotlight on Noble Beast. While his laconic vocals are still not his strong suit, the ability to more clearly make out his elliptical lyrics enhances the listening experience. From the pizzicato-percolating "Anonanimal," Bird sings, "See a sea anemone, the enemy / And that'll be the end of me." The first half of the song is gentle chamber pop, allowing the words to shine through. Midway through, drums usher in a more lush arrangement, bringing energy to the track.

Energy is the quality most often lacking on Noble Beast. A six-plus-minute track like "Masterswarm," for instance, fizzles after a while, despite offering a lovely concoction of jazz, folk, and Morricone-esque cinematic grace. Fortunately, the record also presents friskier tracks, like "Fitz & Dizzspells," as well. The central hook here is Bird's whistling, which he's able to modulate from strolling-along casualness to Theremin-like vibrato in a split second. Another highlight from the record is "Nomenclature," a song that gradually builds from spare instrumentation to a full-blooded rock anthem á la late '80s U2.

As he's matured, Andrew Bird's fire has cooled somewhat. Sometimes this leads to lovely, uncluttered moments; other times, he just seems kind of sleepy. However, the former outweighs the latter on Noble Beast. Those pretty movements, along with the occasional interjections of bouncy indie pop and even dramatic rock, keep the album vital and interesting the way through. And, the more you listen, the more weird wordsmithery you'll catch. Who else but Andrew Bird could coin a line like, "From proto-Sanskrit Minoans to Porto-centric Lisboans"? With lyrics like these, you'll want to remain alert all the way through Noble Beast.

Recommended Tracks: "Fitz & Dizzyspells," "Nomenclature," and "Anonanimal."

A Select Andrew Bird Discography:
Andrew Bird: Music of Hair (1996)
Squirrel Nut Zippers: Hot (1997)
Bowl of Fire: Thrills (1998)
Squirrel Nut Zippers: Perennial Favorites (1998)
Bowl of Fire: Oh! The Grandeur (1999)
Squirrel Nut Zippers: Bedlam Ballroom (2000)
Bowl of Fire: The Swimming Hour (2001)
Andrew Bird: Weather Systems (2003)
Andrew Bird: The Mysterious Production of Eggs (2005)
Andrew Bird: Armchair Apocrypha (2007)
Andrew Bird: Noble Beast (2009)

-Michael Keefe