The Bird and the Bee - 'Rayguns Are Not Just The Future'

The Bird & The Bee, jazz label Blue Note's foray into classy poptronica, just cannot seem to help getting better and better with every release they make. Their debut album, self-titled, was one of the best offerings of 2007. Inara George and Greg Kurstin teamed up for an unbelievably catchy and off-kilter pop album, leading off with quite a raucous first single. "F*cking Boyfriend" got remixed by some of the best and tore up clubland with George's coy vocals and alarming message. And the fun didn't stop there. A couple of EPs with a series of fantastic tunes followed their debut, slaking MY thirst for this group. Actually, those EPs convinced me a new album wasn't coming out soon, but these people just pop out music like a fertile couple! Rayguns Are Not Just The Future marks another chapter in The Bird & The Bee's repertoire of fantastic music, but you'll find that it is a departure from the jazzy 60s girl group sound of their debut. I think it's a good thing.

The album opens with "Fanfare," 29 seconds of chunky synths and vocal oddities, before diving straight into "My Love," a handclap festival of ethereal choruses and tribal percussion. George's voice soars over the plinking harp melodies of the bouncy "Diamond Dave" before getting down with the bassy and moving "What's In The Middle." "Baby" arrives softly with a flurry of piano keys which quickly gives way to a mellow and dramatic atmospheric track with minimal percussion and swelling harp. "You're A Cad" is George's vehicle to insult her man with a variety of older insults like cad, rascal, rogue, villain, and bounder, a modern tavern song if there ever was one. "Witch" is a soaring Bond-esque song, and ending the album, "Lifespan Of A Fly" is a truly ghostly and supernal song.

"Love Letter To Japan" is the album's lead single, and it truly deserves all the attention it gets. It is fast-paced, hard-hitting, and uses everything George and Kurstin can muster for an amazing track. She even sings in Japanese! One of the greatest points of this song is where all fades away to an echoing crowd sound except for this lilting synthetic noise before the beat explodes back in with her "Whoa oh oh oh!" Hard to explain properly unless you hear it, but you totally should check it out. Following "Love Letter" is the very radio-worthy "Meteor", an upbeat and bassy track with a very modern sound, one of those departures I mentioned earlier. "Polite Dance Song" (introduced by "Phil") and "Birthday" are tracks from their non-album EPs, but very important inclusions. "Polite Dance Song" is another adorably innocent track a la "F*cking Boyfriend," courteously imploring the listener to move along to the song, and also mentioning a desire to see someone's "naughty bit." "Birthday" has a very electric feel to it while the bass keeps it grounded and real. Both greatly show the evolution of musical style from B&tB's debut album to this 2009 offering.

Released Janurary 2008 on Blue Note Records.