Bird and Bee keeps it retro in Ray Guns

The album could have been shorter.

By Rachel Post

Published Jan. 29, 2009

Greg Kurstin and Inara George, the two minds behind The Bird and the Bee, positively exude '60's retro. The duo's sophomore album, Ray Guns Are Not Just the Future, is heavily influenced by their love for everything of the era, moreso than their debut self-titled 2007 album.

It seems as though Kurstin has found his niche with George, though his extensive resume includes recording with the Red Hot Chili Peppers and producing and co-writing for Lily Allen, just to name a few.

The unexpected mixture of '60s retro with modern electronic sounds, along with George's delightful voice, quickly became their staple when they released their charming EP Again and Again and Again and Again in 2006. Since, Kurstin and George have refined their sound to produce the 15-track Ray Guns.

Although Ray Guns is not flawless, it is surely a triumph for the Los Angeles-based duo.

The album begins with an intro, "Fanfare," which segues into the album's most charming track, "My Love." The stomping and clapping sounds surprisingly compliment George's voice as she sings "Hey boy won't you take me out tonight/I'm not afraid of all the reasons why we shouldn't try."

The album's first single, "Love Letter to Japan," is fun, but at times overly sensational. The children's choir and distorted Japanese lyrics are a stretch even for an act as eclectic as The Bird and the Bee.

Two songs, "Polite Dance Song" and "Birthday," were taken from previously released EPs, Please Clap Your Hands and One Too Many Hearts, respectively. "Polite Dance Song" is certainly a dance-worthy gem. (And the music video for "Polite Dance Song" is hilarious.)

A few other noteworthy gems on the album are "What's In the Middle," "Ray Gun" and "Meteor," in which George's harmonies are fantastic.

"Ray Gun," the album's title track, for all intents and purposes, is a soothing, lyrically rich track. George sings, "Will someone come and pull me out tonight/I'm stuck inside the walls of all this inner strife/I want a pretty little life."

Many of the tracks, however, are just sub-par, including "Diamond Dave" and "Lifespan of a Fly."

"Baby" is another sub-par track, until George begins to speak laments of coming to her former lover's aid, at which point the track becomes utterly creepy. "Baby, I know we've seen our share of hard times you and me/but I want you to know that I will always, no matter what, come to you/out of the mists or into the fire, across the sea the mountains the desert." Yeah, creepy.

"Everything Is Ending," the album's final track, is heavily influenced by '60's retro sounds and is a perfect, refreshing ending to the album.

Some of the tracks could have been saved for an EP later on: a 10-track or 12-track album would have been more cohesive. Overall, though, Ray Guns is a solid triumph for The Bird and the Bee, even though it seems as though Kurstin and George may have had a bit too much ambition.