Chicago troubadour Andrew Bird's eclectic mix of gypsy rhythms, darkly witty lyricism, sophisticated melodies and the occasional whistling solo has charmed the most unflappable critic over the course of a dozen years and four full-length solo studio albums. 

With an unassuming, left-of-center and delightfully unpretentious manner, Bird's presents his songs as simple but sumptuous musical dishes to be savored. His 2007 breakthrough album "Armchair Apocrypha" found six-figure sales success and garnered his most fevered critical outpouring: "Unpredictable and unclassifiable," raved London's Daily Express, "Bird's songs suck you into their weird wonderful world, leaving you feeling better and brighter. Music needs more eccentric geniuses like this guy." 

New album "Noble Beast", arriving January 20, is a small step sideways from the more overt, flamboyant flourishes that marked "Armchair." But the writing is even more assured in its own odd ways, a nod perhaps towards Bird's own awareness of his commercial appeal. Classically trained on violin and well versed in swing/jass, Bird's self-produced "Beast" moves quietly but confidently from hushed, intimacy to near anthemic art-rock embellishments. 

From the urgent, joyous pop rush of "Fitz and the Dizzyspells" to the achingly spare and lovely album opener (and potential single) "Oh No" to the epic, cinematic scope of the seven-minute, meditative opus "Souverian", Bird revels in his own buoyant and luxurious pop ambitions. 

"I sort of play with words and ideas," Bird has said about his creative process, "and they eventually kind of find their way into the nooks and crannies of the melodies."

A limited edition deluxe version of "Savage Beast" is also available, featuring an expanded booklet and a second disc of instrumental works, with collaborations with Wilco drummer Glenn Kotche and jazz bassist Todd Sickafoose.

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