For no apparent reason, Andrew Savage of New York's Parquet Courts keeps apologizing. “I'm running empty over here,” he says, interrupting his own interview. “I had a late night last night, so I might not be the most eloquent man in the world.”

It turns out Savage, the band's 30-year-old singer and primary songwriter, had been up late performing Warren Zevon's “Carmelita,” Emmylou Harris' “Together Again,” Kid Rock and Sheryl Crow's “Picture,” and numerous others at a karaoke bar in Brooklyn's Williamsburg neighborhood. He calls karaoke “one of my favorite things in the world.”

“One of the things I like about karaoke so much is just how supportive it is,” Savage says, from his Brooklyn home. “There's never any kind of meanness there. ... You're just a stranger with a song to sing.”

The anonymity of karaoke night is attractive to Savage, who has viewed the rise of Parquet Courts from unknown Brooklyn club band to indie-rock hero big enough to play Lollapalooza and Coachella with, perhaps, suspicion. On superb albums such as 2012's “Light Up Gold,” the band took a fast, rambling approach to punk rock, recalling Camper Van Beethoven's “Take the Skinheads Bowling” and Black Flag's “Wasted”: “I was debating Swedish fish, roasted peanuts or licorice,” Savage sings on “Stoned and Starving.”

“I don't know if suspicion's the right word,” Savage says. “But sometimes I am maybe a bit bewildered by certain people's responses. It's weird when something gets a little more notoriety than you expect it would. And when you're able to cast a wide net like that, you bring in some strange fish.”

Savage formed the nucleus of Parquet Courts at the University of North Texas, where he met guitarist Austin Brown. They didn't click together as musicians, though, until they both happened to have moved to New York. They formed Parquet Courts in 2010 with Savage's brother Max on drums and Boston transplant Sean Yeaton on bass.

Parquet Courts slowly built a formula, centered on loud, staccato guitars and feedback; a rock-solid rhythm section; and Savage's songs about velvet cages, creeping blues and pretty machines. The band's new album, “Human Performance,” is a bit of a departure, in that Savage wrote only some of the songs, leaving room for the other three to contribute the rest.

“We were all very encouraging of one another taking creative tangents and exploring an idea to the fullest,” Savage says of the album. “It became a good moment where people had a lot of ideas. The band has always been what everyone brings to it, and this time around, people had a lot to bring to it.”

Steve Knopper is a freelance writer.