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Úvodní stránka » RECORDS » RECORDS II » Wavves — V
Wavves — V (October 2, 2015)

Wavves — V (October 2, 2015)

                                 Wavves — V (October 2, 2015)
Ξ★  Syrový, pořád ne brutální prostředek proti zívání už od úvodní Heavy Metal Detox. Way Too Much se neliší rytmem, pojetím však přechází do ‘60 k Hollies, Bread nebo Tremeloes. Tomu odpovídá timing písní, a s cílem trochu ozvláštnit celkový sound, pojetí, výsledek, vpíchnou do aranží aeroinjekci zvuků neznámého původu. Třetí Pony je v tomto koloběhu ještě brutálnější, teď už jde o špinavý, abrazivní pop na pouti k výběhu plameňáků v ZOO Prague. K pití a lehké konverzaci ideální album. All The Same jakbysmet pod koberec... Žeby návrat k mucholapce? Kluci, děláte si ze mne legraci? Na to vám neskočím. San Diego native Nathan Williams makes charmingly messy, surf–influenced, deeply indebted to the alt–rock of the ‘90s indie rock.
Formed: 2008 in San Diego, CA
Location: San Diego, California
Album release: October 2nd, 2015
Record Label: Ghost Ramp / Warner Bros.
Duration:     31:20
01 Heavy Metal Detox     3:17
02 Way Too Much     2:34
03 Pony     2:57
04 All The Same     1:56
05 My Head Hurts     2:50
06 Redlead     3:30
07 Heart Attack     2:44
08 Flamezesz     2:26
09 Wait     2:33    
10 Tarantula     3:21
11 Cry Baby     3:12
Group Members
Ξ★  Nathan Williams
Ξ★  Stephen Pope
Ξ★  Brian Hill
Ξ★  Jacob Cooper
Ξ★  Zach Hill
Producer: Woody Jackson
Ξ★  All songs written and composed by Nathan Williams, except where noted.
BY JON DOLAN October 1, 2015;  SCORE: ★★★½
Ξ★   Wavves got started in the late ‘00s making low–fi SoCal pop punk caked with stoner paranoia. Five albums down the line, the angst is still there (“I’m slowly sinking into nothing,” Nathan Williams sings). But their songs have never been sharper, brighter or more confident. Wavves’ second major–label LP delivers bored–and–wasted bellyaching with glossy concision; “Way Too Much” is what might’ve happened if Lindsey Buckingham had produced Black Flag’s Damaged. Sometimes the music is so supercharged they even start feeling optimistic — that is, if you count “I’m more insane each day, but I’ll be OK” as a day–seizing sentiment.
Ξ★   http://www.rollingstone.com/
AllMusic Review by Tim Sendra;  Score: ★★★
Ξ★   Wavves’ 2013 album Afraid of Heights was an over–produced, overly gloomy album that coated their previously loose and fun sound in layers of studio sheen. It was such a detour into morose musical melancholy that it seemed nearly impossible for the band to ever get back to their brand of normal. Luckily, anyone who liked what Nathan Williams and his crew did before that record will be glad to know that V is a complete return to form. Working with producer Woody Jackson, and with more songwriting input from the rest of the band, Williams strips away all the murkiness and delivers an 11–song blast of bright and sunny alt–rock with all the punch of earlier albums, but with a newfound sonic power. Lyrically, Williams hasn’t figured anything out — he still sounds like he’s riding a pretty strong bummer most of the time — but he hides his pain behind giant singalong hooks and razor–sharp guitars. The music is so fun and infectious that he could be singing about the worst things on earth and it would still be hard not to air drum along or jump up and down when the chorus hits. In fact, Williams is singing about medical issues a lot of the time — there are at least two songs about headaches and other maladies, both physical and mental, that give enough reason to be a little worried about his future. For now though, it’s enough that he’s raging his way through his difficulties with the help of his crack band of sidekicks. Drummer Brian Hill is a hero throughout, pushing the songs along like a tightly wound drill instructor. Bassist Stephen Pope and guitarist Alex Gates also contribute mightily and help make this Wavves’ best–sounding record yet. Every song sounds like it was made to be blasted out of a car window in the summertime, and every song is the best kind of pop made of shiny surfaces with a tough crunch of real feels underneath when you bite down. Not many bands are able to rekindle their fire when the flame goes out as drastically as in Wavves’ case. V shows that they’re one of the few to pull it off, and they even sound better than ever. Even people who thought they were a little too weird or a little too jokey in the past will find themselves charmed by the pure pop songcraft and the jumped–up rock & roll delivery here. Ξ★ http://www.allmusic.com/
♦♦♦   In the last few years, we’ve seen Wavves’ Nathan Williams wake up, stumble out of bed, emerge as one of the few successes of the late–‘00s lo–fi resurgence, and graduate to the big leagues. Still, five albums in, Williams seems as plagued with uncertainty and peril as ever before. He’s enjoyed a rare winning streak from DIY cassette releases through the indie–rock gauntlet, blogs and all, before catching serious attention and landing on a major label.
♦♦♦   Through it all, he’s remained remarkably open about his state of being, grafting his emotions onto a restless runaround of high–energy pop–punk and stoner fuzz. His songs roughly represent the equivalent of dumping a month’s worth of antidepressants and a roll of Mentos into a two–liter bottle of Diet Coke and letting it rip. V is loaded with cheerful songs about woes and impediments, afflictions and self–doubt, with multiple references to headaches (physical and otherwise). Along the way, our under–30 protagonist asks himself, “Have I lived too long?” and frets that “I’m getting worse” in “Heavy Metal Detox.” (On a brighter note, in “Pony,” he sings hopefully about how, “It gets better / It better”). Williams’ compatriot in all this, bassist Stephen Pope, is a first–person witness to these fears, having played for a few years with the late Jay Reatard before joining Wavves.
♦♦♦   Williams is careful to leave his mark without smudging the classics: “Flamezesz” lifts a swirly keyboard lead from Trompe Le Monde–era Pixies and plunges it into his wild–eyed darkness (“It’s suicide, uh huh, the way you walk around”), while “Cry Baby” cribs an opening riff as a speeded–up, smoothed–out nod to Pavement’s “Box Elder”. But Williams' rambunctious, brutally honest first–person narratives are all his own, the product of his talent and an innate understanding of what it’s like to wander into a world of temptation, knowing that it’s not much safer on the couch.
♦♦♦   http://www.npr.org/
Ξ★   Wavves     2008
Ξ★   Wavvves     2009
Ξ★   King of the Beach     2010
Ξ★   Afraid of Heights     March 26, 2013
Ξ★   No Life for Me     2015
Ξ★   V      October 2, 2015
Website: http://wavves.net/

Wavves — V (October 2, 2015)



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