100 The fourth LP from Nathan Williams does for Nineties punk pop what his girlfriend Bethany 'Best Coast' Cosentino has done for Sixties girl-group pop: rewires it for a new generation of Spotify-surfing headphone junkies. Starting with heavenly bells and tight-wound guitar slashing, his stoner minimalism gets ambition – there's even a cello!

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Self-loathing and suicidal tendencies swarm; Iggy Pop is evoked on the semi-unplugged sorta love song 'Dog,' and Jeff Mangum- and Kurt Cobain-style angst haunt the title track. Frequent Nirvana echoes flirt with overkill. 79 WavvesAfraid Of Heights[Mom + Pop; 2013]By Gabriel Szatan; March 26, 2013Purchase at: Insound (Vinyl) Amazon (MP3 & CD) iTunes MOGTweetWhy Wavves? Why not Times New Viking or Lovvers, or Harlem or Male Bonding?

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Wasn't he just meant to be some loser 'faggot' anyway, consigned to the bargain bin of Mediafire for all eternity after the quote unquote no-fi scene collapsed? Weren't his fifteen minutes up quite literally in the space of fifteen thoroughly hilarious minutes? It seems Nathan Williams rather predictably forgot to read the script and now finds himself in a position where a not inconsiderate army of loyal followers will defend him to the hilt against haters, get Snacks tattoos in his honour and retweet his every move/emoji/Simpsons joke. He has become something of a Pied Piper for a generation of Twitter-savvy alt rock fans; and naturally, where impressionable teens go, MTV duly follows. All of which amounts to Afraid Of Heights, Wavves' fourth full-length release, being a reasonably large deal. 75 Some artists might mature, but you never really want them to grow up. Alternative radio is practically held together by these human hinges—eternal adolescents like Billie Joe Armstrong, who incorporates a t-shirt cannon into performances and has penned a broadway musical, or Dave Grohl, who seems to seek out opportunities where he can dress like a woman for laughs but also gave the SXSW keynote address.

These musicians are lovable to many in part because they have remained the children we first met when we were young, and Nathan Williams of Wavves is finding himself on that same party boat, very capable of growing up beyond his Bart-Simpson-in-need-of-Paxil persona. 70 Four albums in, you’d have thought the joke would be wearing thin for Wavves’ Nathan Williams. Shouldn’t he already be consigned to the fate of all real-life skater wreckhead Peter Pans approaching their late twenties: getting fat and sleeping in your car? After all, Bethany ‘Best Coast’ Cosentino, the lo-fi Courtney to his Kurt, was laughed out of town only last year after her second record revealed that writing trite 1-2-3-4 songs about weed addiction gets pretty old pretty fast. Yet so far, Wavves has been nimble enough to stay half a beat ahead of the pop cultural scythe that’s coming for him.

50 While much of the charm of Wavves' previous albums was their DIY approach and significant layer of lo-fi scuzz, Afraid of Heights signals a shift in the band's creative vision, at least from a production standpoint—one that's seemingly at odds with Wavves' established pop-punk aesthetic. Album opener “Sail to the Sun” begins with an extended intro of chiming xylophone before turning into a crunchy two-chord anthem, like the Ramones with a layer of digital polish. The track encapsulates the tension evident throughout Afraid of Heights—between frontman Nathan Williams's need to expand his palette while also attempting to hold on to a core aesthetic that's been built up over a handful of records. 50 After the fizzy psych-punk of his last album, King of the Beach, Wavves frontman Nathan Williams seemingly discovered a stash of albums from the '90s and sank deeply under their spell while writing and recording the 2013 follow-up, Afraid of Heights. Working with producer John Hill (of Rihanna and Santigold fame) and loyal sidekick Stephen Pope, Williams crafted an album that has so many influences from the era of grunge, pop-punk, and '90 alt-rock that it's almost too exhausting to play spot the reference on every minute of every song. There are guitars that sound just like Kurt Cobain's, quite a few tracks that sound like Weezer deep cuts, lots of quiet-verse/loud-chorus dynamics, bursts of Pixie-esque angst, and a general feel of hazy nostalgia for the era that bleeds the album of energy and punch.