Review: The Bird and the Bee - "Ray Guns Are Not Just the Future"

I can’t help but shake this feeling that there is some underlying sarcasm that pervades the music of the duo The Bird and the Bee. Whether or not they’re being somehow disingenuous, I don’t think that would change my overall opinion of their music, but there is something in their songs that screams Adam West-style camp. While their first, self titled, full length album produced a very successful dance club hit, the destined-to-be-censored lead single “Fucking Boyfriend”, their infectious grooves and layered nu-jazz take was enough to win over a lot of non-believers focusing on some of the more transparent hooks.

The pair is back with their second album, Ray Guns Are Not Just the Future, a title which suggests progress, moving forward; but if that is the expectation here then prepare to be disappointed. While B/B’s first album gained a fair amount of attention not only for Greg Kurstin’s prolific portfolio (having done production work with everyone from The Flaming Lips to Kylie Minogue) but its aloof genre-bending, the pair has apparently decided to take that sound, however originally unique, and run with it.

If you liked B/B’s self-titled record then this isn’t necessarily such a bad thing, and there are plenty of reasons to like this album. As one would expect, Kurstin’s production is virtually flawless, seamlessly mixing in his dynamic beats while highlighting the airy, yet powerfully entrancing voice of Inara George. Unfortunately, the songs waver in effectiveness, and at times almost begging the question of whether there was an intentional effort to alternate good and bad tracks.

For instance, Love Letter to Japan just doesn’t quite work, neither an ode to J-pop nor the more kitschy eastern European club music, yet ambivalent in trying to sound like both and ultimately falling flat. However, this is followed by one of the album’s stronger tracks, the distinctly more indietronica influenced “Meteor” which manages to temporarily persuade the listener to keep going, before funneling into the overwhelmingly laughable “Baby”.

Still, there are a lot of reasons to like this album, as their jazzy sound may yet have some novelty left. The beats and handclaps of “My Love” are reminiscent of Radiohead’s "15 Step" and provide the pounding undercurrent to one of the album’s catchier melodies, further sold by that beautiful voice. “Polite Dance Song” takes after some of the best Ratatat tracks, while “What’s in the Middle” rolls along like a dance song but glows with aspects of space rock. Still, for every solid track there’s a “Diamond Dave” (a masturbatory ode to America’s most famous ex lead singer) or a “You’re a Cold”, which, quite frankly, almost blows the whole deal.

While The Bird and the Bee’s sophomore album may suffer from bouts of inconsistency and the trouble of following in the wake of an album which established such a unique conglomerate sound of jazz, dance, and pop influences, the good moments on Ray Guns ultimately outshine those which make a quick break for cheap pop appeal. But still, here’s hoping we get to find out where else the future takes this band.

You know, besides ray guns.

6/10