Beer In the Breakers

The trouble with the neo-Brit-pop explosion of the last half of the first decade of the 2000s, whatever one might call it, is that far too many of the bands have taken either the Kinks and the Who or Blur and Oasis as their conceptual starting points, ignoring all that came in between. The Wave Pictures, however, start with the tongue-in-cheek confessionalism of the Smiths and solo Morrissey on the one hand and the scrappy D.I.Y. aesthetic of the C-86 school on the other, and take it from there....