To set things straight, Wavvves is the second album by Wavves. The word “Wavves” is a multifaceted one, functioning as the name of Nathan Williams’ solo project, the title of his debut album, and as one of that first album’s best songs. In a continuing convoluted fashion, the cover photos for both albums (Wavves and Wavvves) are merely snapshots of a young skateboarder; no text. The first release (differentiated from the second by the skater kid’s positioning, pictured here perched on the edge of a rustic wheelbarrow) was put out by Woodsist in early 2009. It’s a slightly lopsided listen, wavering between self-indulgent filler (“Yoked,” “Space Raider”) and fantastic surf-punk gems buried in a shimmering lo-fi grime (“California Goths,” “The Boys Will Love Us,” and “Side Yr On”). The follow-up (adorned with the same tubesocked teen, this time truckgrinding on a ramp) has alternate track listings depending on the release date. Various copies were leaked early to the public, including one by De Stijl, and although it fared well on blogs due in no small part to the ultra-catchy “So Bored,” the disc’s better material was compromised by the lackluster tracks “More Fur” and “Ghost Ramp.” Fortunately, this version was discontinued not long after the promo copies were distributed, and afterwards Wavves jumped labels again to Fat Possum, and a newer, more widely available, much improved record was released. All that said, Fat Possum’s Wavvves not only beats out all other versions, but everything else leading up to it, including the two 7″s, a cassette, and an EP also concocted in 2009. Solving the initial problem that plagued Williams’ earlier work, many of his trademark filler songs of purely noise static are eliminated on this Wavvves, leaving a well-sequenced album of fully realized, killer material. Like Times New Viking and Lovvers (yep, another lo-fi project with dual “v”s), the crude boombox-tape recording style and ever present buzzy fuzz surrounding these songs make them more edgy and endearing in their mangled volcanic state. Williams’ careless slacker attitude and D.I.Y. aesthetic shines especially bright. Along with the brilliant slice-of-life pop single “No Hope Kids” and instantly hummable “So Bored,” the chirpy hooks and fuzzy clatter of “Beach Demon” and “Gun in the Sun” surge with sunshine-filled boyish nostalgia. – Jason Lymangrover