King of the Beach
There are a good number of bloggers who are crowning San Diego’s Nathan Williams as the king of 21st-century surf music, never mind that he doesn’t even surf or that his project Wavves was named after his fear of the ocean. But Wavves doesn’t aspire to sound like the Beach Boys. Though Williams adheres to (and makes fun of) surfy themes, his sound contrasts fuzzed-out, lo-fi, indie-rock with bubblegum sticky pop that radiates overly sunny melodies. There’s also a punch of loudness culled from a collection of old school skate-punk 45s and ‘60s garage rock. Wavves’ third studio album was recorded at Williams\' parents’ house with the late Jay Reatard’s rhythm section and it sounds more polished thanks to producer Dennis Herring. The title-track is a catchy introduction, but things really get going with the hyperactive “Super Soaker” which parties hard with a keg of reverb, warbly tremolo, Ritalin-deprived vocals and a Farfisa organ. “Post Acid” is an infectious standout that plays like Seth Bogart from Hunx and His Punx hijacking the Vivian Girls.
In its quest for an endless summer, King of the Beach wears its California lineage with pride. It's major-key and resplendently colored, owing as much to Orange County skate-punk as it does to the Beach Boys.- Ian Cohen of Pitchfork 8.4/10
On this strong return after a tough year, Nathan Williams enlists Jay Reatard's backing band, polishes his sound, and embraces pop-punk clarity.
Unfortunately, Nathan Williams half-asses his leap from the collapsing edifice of the lo-fi scene.
Lo-fi hero/antihero Nathan Williams ups the musical power on his third album, going for a muscular garage-pop sound that's fun for three or four songs at a time, but no more, says <strong>Michael Hann</strong>