Customer Reviews

Noble Beast

5 star:		(29)
4 star:		(7)
3 star:		(4)
2 star:		(0)
1 star:		(1)

 

 

Do you like chamber pop? I mean really, really like chamber pop? The kind of pop music that is intimate and full of careful touches, perfectly crafted? Well, then this is the record for you. This record is a constant pleasure, offering the sort of tunefully creative pop that combines some of the emotionalism of Belle and Sebastian with the whimsy of Badly Drawn Boy and the croon of Rufus Wainwright, minus the rough burr in the middle of his voice (not that I mind that burr in Rufus--it is actually part of his charm--but I digress). OK, so that might be a hard thing to imagine, but pop this disc in, and you'll see what I mean. Gentle melodies sung with verve, humor, melancholy, and unforced sweetness, amazingly pleasant whistling (!) and fresh production. Andy has an up front sort of innocence about his singing, even when he sings of heartbreak or regret, and although his production can be complicated, it doesn't take a genius to follow his beautiful tunes. From afar, it seems a swirling mess, but the closer your listen, the more every sound that is there simply needs to be there.

If you've never listened to Andy Bird before, this is going to be a real treat. If you are already a fan, you won't be disappointed--this may be his best album yet, and that is no small claim. Listening to the album is simply a lot of fun, and I can't imagine that I'm going to get tired of listening to this one any time soon. Very recommended for people who love chamber pop.

Fat Possum Records delivers a really great album, what an eclectic label (from hardcore blues to indie music). The recording is solid and clean. Andrew Bird's vocals stand front, center and clear; probably some of the most intelligible lyrics I've heard in a very long time. I'm reminded of Thom Yorke's Eraser, unusual supporting mostly acoustic music, interesting lyrics and a slight nasal quality to his voice - all fantastic. It's a similar sound, but not a copy or derivative. Andrew Bird definately has his own style.

March 13 update: After getting to know Andrew Bird's music a bit better, I'd actually give this album 6 stars, it has grown better with more listens. I apologize for thinking he used a theremin (sorry for misspelling the instrument, hope you all understood what I meant). It is in fact him whistling. With that change the comments remain valid.

This is my first Andrew Bird album, so excuse my not having comparisons to his other albums. He is a story teller, in a folk music tradition.

Noble Beast appears to be an album built in order with a purpose. My first listen was in random order, and that is nowhere near as pleasant as track order.

The opening track, Oh No, excellent acoustic guitar backed by a small orchestra serves as a gentle wake up call in the morning. There's a tiny bit of show tune influence here, nothing strong or annoying.

Masterswarm has a similar folk sound to Black Swan in it's opening. It then changes mood to a slightly Brazilian sound with the rythmn guitar, but tempers it with a violin here and there.

Fitz and the Dizzyspells reminds me a bit of British "pop" music. A bit like XTC, but with a really nice twist. It's the most produced song so far, big backup instruments and a happy beat.

Effigy is a beautiful haunting song with Irish folk song influence. I'm reminded of Damien Rice and Lisa Hannigan on this this track, without the angst. The track starts fairly quiet and builds gradually.

Tenuousness, ah the intelligent lyric, such a rare beast today. The track starts with some fantastic acoustic guitar work. As Andrew starts singing more instruments are added to build a fuller sound. Drums, purcussion instruments, violin, something that sounds a lot like a theraphin (not my favorite sound), and electric guitar. It's a pleasant song.

Nomenclature, probably my favorite lyrics of the disc. Wonderful turn of phrase, unexpected words. This song, about halfway through the album, feels like a nice mid afternoon piece.

Ouo, a 20 second instrumental throw away. I've never quite understood why artists throw these pieces on albums. Easy enough to delete.

Not a Robot, but a Ghost, the music overwhelms the vocals a bit here. A grinding electric guitar jumps in. The sound is slightly Chill Out, Zero Seven, meet Thom Yorke's solo work. The beat is much faster here.

Unfolding Fans, another incomprehensible throw away 58 second track.

Anonanimal has a movie soundtrack quality. Not big budget Hollywood blockbuster sound, but the independent sparse low budget film sound. Acoustic for the first three minutes and then he adds an electric guitar and the tempo picks up. Nice change in the music. I like this made up word, Anonanimal. It sounds beautiful sung.

Natural Disaster an absolutely gorgeous song (such an irony). Another Irish folk song influenced, acoustic piece. Sparse backup, acoustic guitar, violin, drums, and they blessedly left the Theraphin home. A touch of some beautiful female singer. One of my favorite tracks on this album.

Souverian is the last real track, opens with violin and Theraphin type sound. But quickly adds a piano drums and acoustic guitar. Almost a classic folk ballad with a show tune influence. The song slows and speeds up, builds volume and then goes quiet. There's a lot going on in this track, a lot of drama.

On Ho is another 1 minute throw away track, Andrew Bird plays violin. He plays beautifully, the recording is spot on perfect. But I just don't get this piece, in an album that is lyrical, each song was a poetic story; he chooses to close the disc with an instrumental piece. Then again, he wakes you with the opening track Oh No and closes with On Ho; maybe that is lyrical enough.

Definately a winner.

By the way - if you are downloading this as MP3's - skip those three tracks, they cost $0.89 like all the others.

Noble Beast is a pretty decent release. The songs are sonically cohesive and compelling, two qualities that eluded its predecessor Armchair Apocrypha, an album that never became more than the sum of its parts. Andrew Bird's assembled cast of musicians toured together for several months before cutting this album and it really shows. Thankfully, the cut-and-paste feel of Armchair has been excised, revealing songs that simply sound more relaxed and natural.

The Latin-tinged "Masterswarm" for example features undulating rhythms that effortlessly melds signature Bird whistling and violin before melting into an impressive middle eight section. A Beatles-esque guitar hook anchors "Effigy" and its spare, understated framework though I swear it's a recast number from the Bowl of Fire days. "Nomenclature", despite its lyrical indulgence (more on this later) blasts a wall of sound on the unsuspecting listener. "Natural Disaster" ranks among the finest of Andrew Bird's melodic compositions, showcasing a steel guitar that nicely countrifies the song. (The country feel is something I have sorely missed in Andrew Bird's most recent offerings.).

(Warning! Constructive criticism follows!)

Occasionally, there are missteps however. The weak points are twofold: the singing and the lyrics. There's an old joke about how Mazzy Star guitarist David Roback can play at three speeds: slow, slower, and slowest. Similarly, Andrew Bird can sing in two ways: plaintive and more plaintive. In the opening verse to "Tenuousness", he is either recovering from wisdom teeth extraction or singing with a mouthful of marbles. Moreover, his voice all too easily strays into schmaltzy territory when he heads for the higher registers. The lack of vocal range, in both pitch and emotion, make for songs that struggle to distinguish themselves from one another.

The lyrics, meanwhile, are a hit-and-miss affair. Andrew Bird's best songs are when he has a story to tell. The worst are when he has no story and instead strings together weighty words. True, deep meaning has never been pop music's strong point but eventually you must concede that the emperor has no clothes. Sure, "calcified arithmetists" does sound cool but... huh? Homeless sociopaths, affable effigies, sea anemone and the enemy... You get the impression that Andrew Bird must have been a speech-language pathologist in a previous life.

"Tenuousness" is a good example of Bird's obsession with fun words getting the better of him. Dragging out the syllables ("ten... u... ous... ness") in song does not a hook make. It's like Andrew Bird thought that 'tenuousness' was linguistically interesting and decided he just _had_ to write a song about it. It reminds me of Kill Bill when Elle Driver extemporizes, "You know I've always liked that word: gargantuan... [I] so rarely have an opportunity to use it in a sentence..."

At worst, the lyrics are better described as maudlin rather than well-thought and thought-provoking. After boldly declaring, "There will be snacks!" on The Mysterious Production Eggs, Andrew Bird makes good on his promise by delivering more lyrics specifically designed to tug at your heartstrings. By mentioning turnips and finger paints, he appeals to the little child lost that everyone fancies is trapped inside themselves. Perhaps the joke is on us though. After all, isn't this the same man who once sang, "I'm so lame, I think this song is about me. Don't I? Don't I? Don't I?"

But don't get me wrong. Sniping aside, it's still a solid body of work. Artistically, it's a step forward for Andrew Bird and while I like the CD, I think it's good to still be critical of it. It's like how I voted for Obama but I'm still going to be critical of him for the next four years. You will be too, right?

This album is so great. He also plays the violin on it and I had no idea that he was so talented! My husband and I listen to it almost daily. Really unique and doesnt get old!

If you are a Andrew Bird fan, there is no doubt about it that you own this cd.
If you like Andrew, but have never bought an album, definitely pick this one up. Each song is unique and has it's own life to it.
It is an album that you should play when you are in a low key mood. It is quite relaxing and definitely catchy.
"You don't know until you buy it," is what a friend told me...and now I know. :)

In 2007, Andrew Bird finally broke through in the mainstream indie-rock scene (if there is such a thing) with his excellent "Armchair Apocrypha" album. Now comes the highly anticipated new album.

"Noble Beast" (14 tracks; 54 min.) continues the same delicate balance that Bird found on the previous album between on the one hand his tendencies for the solo things (be it violin or whistling) and on the other hand embracing the full-band sound. The album kicks off with "Oh No", which sets the tone for the album: mid-tempo, whistful yet beautiful. When Bird truly dives into the full-band sound, such as on "Fitz and the Dizzyspells", it works great. But there are too many same-tempo, same-soundscape sounding tracks, and after a while,it all starts to sound a bit of the same. The length of the album doesn't help either: at almost a full hour, it's simply too long, period.

Don't get me wrong: "Noble Beast" is not a bad album, and I recognize and appreciate the ambition with which Bird undertook this. But the album needs more variety in tempo and sound, and should be cut by 2-3 songs. I've had the good fortune of seeing Andrew Bird in concert a number of times over the years, most recently last year here in Cincinnati at the 2008 MusicNOW festival, where he have a mesmorizing solo-performance. Can't wait to see him live again at some point.

I've only been a fan of Andrew Bird's for a few short years, but my fall was a quick one after deciding to purchase one of his albums on a whim. I won't confess that I believe this is Bird's best work yet, but I find that it is all I want to listen to right now. (I've even played this in my classroom and had another teacher comment on how relaxing it is.)
What I've always loved about Bird's music is the fact that there are songs within his songs. However, where most musicians/bands fail at the particular task of making it work, Bird has the ability to makes those transitions smooth ones.
While this album isn't a total 180 degree turn from his usual genius, Bird does work with different musical textures, "Not a Robot, but a Ghost" in particular, and it does go in a different direction, sound wise. The violin, guitar, and whistling are still there, but in wonderful variations. These songs and the photography used for the album remind me of my formative years; the music is more whimsical and I find I'm still pulling apart the various layers of it. (I can easily see this album being used for a cross country roadtrip.)
All of the songs are cohesive and "serve their purpose" for lack of a better term, but the highlights for me include: "Not a Robot, but a Ghost," "Masterswarm," "Effigy," and the last three minutes of "Souverian" still me with its beauty. "Anonanimal" is my favorite song on the album, and I haven't been able to get it out of my head ever since NPR previewed the album some time ago. Some might not be too fond of the instrumental pieces, but I personally love that Bird is still including those.
I won't recommend this album to a first time Andrew Bird listener, but it is a wonderful addition to Mr. Bird's growing musical legacy.

I was scrolling thru Amazon's new releases and found the Noble Beast. I had never heard of Andrew Bird but I liked the title so I thought why not give it a try. Wow was I impressed, I would never compare this cd to pop and it is hard to put a lable on it, but when I listened to the cd I felt it would be a good listen to if I were in a forest or a park on a nice sunny day drinking a nice of glass. My wife would call it modern hippie rock which I guess is kinda like modern folk. All I know is that the Noble Beast delivers nice lyrics and reminds me of a pleasant day and for that it is worth purchasing.

Andrew Bird has more talent whistling than most people have simply trying to enunciate. Add to this both his masterful violin-ery and what's left for the listener to contemplate is their jealousy that such an artist can combine such disparate elements within the sphere of rock n' roll and not only make it work, but elevate it to uncharted territory.

Noble Beast is just another in an increasing line of infallible releases by Bird. Make no mistake, his sound is subtle, most likely unrewarding to the new and impatient listener. This may be due to the multitude of sonic layering that Bird incorporates into his music: sharp plucking over flowing yet abbreviated melodies from his violin while his sparse electric guitar charges the listener with some occasional voltage, all brought together with a usually muted though sweeping percussion provided by Martin Dosh. Vocally, Bird's voice is nearly as understated as Sam Beam's from Iron and Wine, but lyrically his songs and themes align more closely toward those of Modest Mouse. Alienation, isolation, and accelerated contemplation are Bird's main proclivities.

Not much different from from his prior masterpieces The Mysterious Production of Eggs and Armchair Apocrypha, Noble Beast is yet another example of Bird's further ascent into infinity. Standout tracks include On Ho, Fitz and the Dizzyspells, Effigy, Tenuousness, Natural Disaster, The Privateers and Souverian.

I didn't become a fan of Andrew Bird until I bought a Zune and heard the track Plasticities. Since then I've picked up Weather Systems, The Mysterious Production of Eggs, Armchair Apocrypha, and now Noble Beast. If you're a fan of Andrew Bird then there should be no doubt that you will enjoy this album, which is great from start to finish. I first heard the track Anonanimal from a live recording at Austin City Limits. The version on Noble Beast is a bit different but is so much better. Such an amazing album as a whole.