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Multi-instrumentalist Andrew Bird says, "I really do need something to make sense and be meaningful and personal."
Multi-instrumentalist Andrew Bird says, "I really do need something to make sense and be meaningful and personal."
Listen to full recordings of Andrew Bird in concert from the 9:30 Club in Washington, D.C.
Andrew Bird's album Noble Beast.
"Oh No," inspired by an inconsolable child on an airplane softly repeating those words, was not intended to feature whistling so prominently. "I recorded this live with just two acoustic guitars," Bird says. "Whistling is usually just a placeholder for a melody you expect to play something else with. But the whistle always wins."
"Natural Disaster" took two years to put together because, Bird says, "When you have such a distinct melody that doesn't want to be anything else — it doesn't want to conform to the words — it's going to take a while to get the right words."
February 13, 2009 - Singer, songwriter and multi-instrumentalist Andrew Bird relies on violins, guitars and whistling to craft a unique sound that's difficult to describe. On his latest album, Noble Beast, Bird even uses his words as instruments, creating lyrics from archaic and esoteric words that conform to the melodies in his head. The singer discusses his music with Melissa Block.
Bird says that his main focus while working on Noble Beast was to represent texture in his music.
"I think of like, when I was a kid, and I would get my Sherlock Holmes magnifying glass and throw myself down in a pile of mulch or something and go in there and pretend that I was microscopic," Bird says. "I wanted to capture that kind of woody, mossy, decaying kind of sound."
That combination of senses — seeing colors and smelling smells with sound — appears throughout Bird's songs. On Noble Beast, he says, those influences have formed a more natural landscape.
"I've always been obsessed with moss and moose's horns. The number eight, the sort of roundness of the number eight," he says. "The last record I made is a much more, like, pointy, toothy, jagged record. This one I wanted to make a more warm, bubbly, steamy record."
The Sound Of Words
Bird's lyrics often feature archaic language — words such as radiolarian, plecostomus, dermestids, coprophagia — which he chooses mainly for their sound, but not at the expense of their meaning. When selecting words for lyrics, Bird says, he's more interested in feel than in exact, specific definitions.
"Honestly, I don't really care about the details," Bird says. "It is the sound. And the meaning, and what kind of path it leads you down in conversations with people, like, 'What could it mean?'
"So if they kind of get under my own skin, then I know I have to use it. I guess I'm attracted to more archaic words because they can be imbued with more meaning, because their definition is elusive. And sometimes my use of words is a bit reckless. I'm aware of that."
Bird says he doesn't choose his words only because of the way they sound.
"I can't seem to go all the way with that and just completely make up a new language," he says. "There's a leap there I can't seem to make.
"The way I work, I'm not a confessional singer-songwriter," Bird says. "I don't write poetry and then strum some chords and then fit the words on top of the chords. I start with a very distinct melody, so my options... If one thing is fixed and then the words then have to then conform to the fixed melodies, then it's like cracking codes. It's like trying to go through a number of options of things that [will] just be exactly the right word."
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