But moments of weakness are only brief and intermittent, always flowing gorgeously into some marvelous. Songs like 'Nomenclature' and 'Natural Disaster' feel slightly lackluster, or rather perhaps simply stale given the ambition of the rest of the album.

That's not to say the album doesn't have its weak points. All the while, the versatility and ingenuity of Bird shines brilliantly forth through Noble Beast. 'Not a Robot, But a Ghost' too introduces a variety of textures, vast percussion the likes of which he's rarely displayed, and overall a refreshing momentary departure from his predominantly organic sound. Songs like 'Effigy' still pull us back in the best way to Bird's songwriter, folk, sentimentality. 'Anonanimal' is quite possibly his most sophisticated song to date, flowing and morphing all too appropriately with more textures than we may have even thought Bird could effectively employ. This album features a number of his best songs to date. All the while the entire album is unmistakable. The heavy guitar riffs are almost all gone instead we have a vast array of polyphony, with multiple violins played in many ways and extremely melodic guitar lines. From Mysterious Production's guitar heavy indie anthems to Armchair's beautifully varied textures, Andrew Bird goes a step further in Noble Beast, taking the best of Armchair while continuing to develop a distinctive sound. What's most fascinating about this album is observing exactly where Bird's sensibility has shifted. If there's one word to describe Andrew Bird's Noble Beast, it's 'unmistakable.' Out of the smoldering flame of excitement generated by If there's one word to describe Andrew Bird's Noble Beast, it's 'unmistakable.' Out of the smoldering flame of excitement generated by Armchair Apocrypha, Andrew Bird returns here in full force, often even more thoughtful musically that his previous masterful effort.

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