No Pier Pressure | ||||
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Studio album by Brian Wilson | ||||
Released | April 7, 2015 | |||
Recorded | Early 2013 | –November 2014|||
Studio |
Various, United States
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Genre | Soft rock | |||
Length | 42:55 | |||
Label | Capitol | |||
Producer | Brian Wilson, Joe Thomas | |||
Brian Wilson chronology | ||||
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Singles from No Pier Pressure | ||||
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Professional ratings | |
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Aggregate scores | |
Source | Rating |
Metacritic | 57/100 |
Review scores | |
Source | Rating |
AllMusic | |
Consequence of Sound | C- |
Entertainment Weekly | B |
Exclaim! | 4/10 |
The Guardian | |
Mojo | |
Pitchfork Media | 5.6/10 |
PopMatters | |
Rolling Stone | |
The Telegraph |
No Pier Pressure is the eleventh studio album by Brian Wilson released April 7, 2015 on Capitol Records. Peaking at number 28 on the US Billboard 200, the album received mixed reviews which largely criticized its adult contemporary arrangements, production and auto-tune – directions which were allegedly at the behest of co-producer Joe Thomas, who previously co-produced the Beach Boys' Stars and Stripes Vol. 1 (1996) and Wilson's Imagination (1998).
The album features guest performances by contemporary artists Sebu Simonian of Capital Cities, Kacey Musgraves, She & Him, and Nate Ruess of Fun. Original Beach Boys members Al Jardine and David Marks also feature alongside former band member Blondie Chaplin. Originally planned as a follow-up to the Beach Boys' 2012 reunion album That's Why God Made the Radio, No Pier Pressure is the first solo Wilson LP devoted primarily to new and original material since That Lucky Old Sun in 2008.
Wilson intended to record with the Beach Boys after their 50th anniversary celebration, but decided to make a solo album instead. On June 6, 2013, Wilson's website announced that he was recording and self-producing new material with guitarist Jeff Beck, session musician/producer Don Was, as well as fellow Beach Boys Al Jardine, David Marks, and Blondie Chaplin. On June 20, the website announced that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck, and another of interwoven tracks dubbed "the suite" which initially began form as the closing four tracks of That's Why God Made The Radio.