Music

Wavves: King of the Beach

This comeback album from Nathan Williams aka Wavves proves that this bedroom musician, who rocks it out with Jay Reatard's rhythm section, is still a darling of the chillwave scene.


Wavves

King of the Beach

Label: Fat Possum
US Release Date: 2010-08-03
UK Release Date: 2010-08-03
Digital Release Date: 2010-07-01
Amazon
iTunes

Nathan Williams’ sophomore album, released in 2009 under the moniker Wavves, seemed to approximate our shattered notion of “indie”: a computer-aided record cobbled together in a garden shed with next to no production values. The blogosphere -- and crucially, independent label Fat Possum -- went silly over this gutsy display of lo-fi DIY, particularly for its revelation that Williams was actually no ramshackle poseur, but a semi-talented artist for whom catchy pop hooks and mastery of the multi-track are part and parcel. Moreover, Wavves proved a welcome antidote to an “indie” scene gutted by the deluge of vacuous '80s electro-pop imitators.

His Jesus and the Mary Chain-like tumult infiltrated the jaunty air of '60s optimism in honour of our indefatigable fascination with the fabled dystopia of West Coast suburbia. This tapping into the zeitgeist, however, proved too much for the young Williams; at 22, he seemed to be headed for career suicide in a much-chronicled onstage meltdown, followed by tour cancellations and a period of MIA.

Being no real depressive slacker, though, Williams used his absenteeism to write his third album King of the Beach. It shows some bruising from the ignominious events of 2009, but it otherwise remains a picture of him as a punk layabout, disillusioned with a life that seems about as worthwhile as a misshapen surfboard. This lackadaisical and fateful image of himself is belied, of course, by his tie-up with producer Dennis Herring (of Modest Mouse fame) and the superb rhythm section of the late Jay Reatard.

By coming in from the cold, Williams not only kiboshed his DIY ethic, but also showed himself to be a little more fastidious about his song-writing. Albums past were celebrated for being laden in reverb and distortion -- a ploy used to neutralize technical inadequacies as much as an aesthetic choice. King of the Beach tells it almost straight, and the pressure of exposure as well as an excellent backing band has resulted in meatier songs that are compositionally more knowing and experimentally more daring than anything Williams has produced before. Moreover, the album not only remains securely in the “scene” with its love affair for old-school recording and Brian Wilson, but its visceral freneticism seems to anticipate the second wave of grunge, if and when it comes.

The title song has the kind of thrilling jangling propulsion peddled by the Ramones, while “Super Soaker” whistles and bangs at a relentless pace and still manages to reveal a flash of pop brilliance. Both “Take on the World”, despite its lamentable content (see below), and “Linus Space” are examples of that deliciously ironic combination of '60s sunshine pop and the roaring engine present in a solid slice of grunge.

“When Will You Come” drips with fey innocence in a heavenly ode to Pet Sounds while album closer “Baby Say Goodbye” sounds like the Beach Boys in a shindig with the Shangri-Las. It’s at the heart of the album, though, where Williams’ light-hearted whimsicality is fully unleashed. On “Baseball Cards”, Williams sounds as if he’s chewing acid and bubblegum in the same mouthful while he also gargles mouthwash. “Convertible Balloon” is a stupendous case of baby-talk vaudeville that nevertheless chimes well with the general '60s vibe.

Content-wise, Williams storms through the ennui wafting from a life of material comfort and too many sunlit hours. Possibly out of disenchantment with all that blogospheric snark hurled his way post-breakdown, the artist opens the album in glee when he finds the seeds of his own liberation/destruction in the environment he knows best: "Let the sun burn my eyes, let it burn my back, let it sear through my thighs, I'll feel wide, wide open," followed by the tongue-stuck-out sneer: “You’re never going to stop me”.

This sort of nihilistic defiance surfaces over and over, as when Williams intones on “Idiot”: “Laugh, I bet you laugh right behind my back/I won’t ever die/I’ll go surfing in my mind”; or when he plays the inevitable obstinate loser card on “Green Eyes”: “My own friends hate my guts/so what?” In an infantile way, these songs are thrilling for lodging a middle finger at those who thought Wavves was as good as a beached whale. So it’s a shame he let it all dissolve in the fug of self-hatred on “Take on the World”. At best the song is pity-mongering, gratuitous and self-serving.

Worse, when he’s not the centre of his songs, Williams concerns himself with trivialities about the sun, surfing and… carrying a balloon in a convertible (“Convertible Balloon”). The two-word chorus of “Post Acid”, which is about having fun “with you”, is otherwise devoid of content. Again, one wonders whether this lyrical poverty was designed by Williams -- lest we forget his inner loafer -- to counteract his investment in improving his musicianship and the quality of his recordings; or whether this loafer business is just another fig leaf to disguise some very real shortcomings.

Having said that, the obvious danger for Wavves is that obsoletism is built into his career DNA. From the outmoded recording techniques to his place in a scene whose roots are about as solid as a passing cloud, Williams risks self-parody if he comes back in a year similarly constituted. Yet any form of reinvention in line with the next “big thing” probably won’t augur too well with the fan base. Perhaps another period spent in oblivion is just what Williams needs to figure out his next move, or rather, his next image.

6

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less
Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web
Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image