In March of 2008, Andrew Bird wrote in his blog for the New York Times: “The record I want to make here and now—the one I wish I could find in my local record store—is a gentle, lulling, polyrhythmic, minimalist yet warm tapestry of acoustic instruments. No solos, just interlocking parts. A little Steve Reich, but groovier. A little Ghanaian street music, but more arranged. Thick and creamy vocals like the Zombies’ Colin Blunstone. The bass warm and tubby like Studio One dub.”

Got all that? If you’re having a bit of trouble pinning down all those musical references, don’t worry. Bird isn’t exactly the easiest person to label, other than with the tired and frustratingly broad label “indie rock.” The best adjective might be eclectic, since he’s got a constant intermingling of instruments and techniques, including his own violin, guitar and glockenspiel playing. Did I mention he whistles a lot, too?

Enigmas aside, Bird has certainly succeeded with his latest release, “Noble Beast,” a fittingly multifaceted album for an exceedingly multitalented artist. Bird shines in the intricacies of his music, creating painstakingly-layered pieces of guitar loops and punctuated percussion, including handclapping and some of the most ridiculously-skilled whistling you have ever heard.

The album starts off with the first single to be released, “Oh No,” with a rich melodic introduction and some more of that groovy whistling. It’s relatively up-tempo for Bird and definitely finger-snapping, toe-tapping material. The lyrics are also alternatively hilarious and esoteric. For example: Bird crooning about “wearing nothing but a onesie and a veil.” Enough said.

“Anonanimal,” aside from being a lot of fun to say, showcases Bird’s violin skills, melding with soft rhythms, then changing entirely to a loopy, base-heavy bridge, followed by up-tempo rock and soaring vocals. It’s a lot to fit into one song but a testament to Bird’s prowess that he manages (or dares) to do it anyway.

Bird features those rambunctious yet arranged beats of Ghanaian street music in the introduction to “Not a Robot, but a Ghost,” which is a nice departure from his usual flowing style. The introduction merges into minor chords, then again into a fast-paced tempo mingled with the strains of what sounds like a sitar. It’s a great example of Bird’s ability to move seamlessly between vocal and instrumental emphasis, creating effortless harmony between seemingly incongruous sounds.

Bird is certainly a popular choice among the indie set, and in the eyes of many, his genius can do no wrong. However, it is hard not to feel that Bird relies on his groovy, all-instrument-encompassing style a little too heavily. There are times when the constant swells of violins seem reminiscent of about 30 of his other tracks, crossing the tricky line between stylistic and formulaic. That being said, fans will love the continued strength and consistency of “Noble Beast,” an album that will be sure to win over new and old fans.