Countless Journalists insist "It's baffling that bands still regard the C86 ethic as the pinnacle of audio production when decent recording quality has never been cheaper to achiev", as said by Matthias Scherer on the Cloud Nothings second LP. Furthermore, Laura Snapes from the NME threatens "If I hear another pastiche-ridden West Coast surf rock record this year, I'm going to brain Nathan Wavves with my surfboard."

Quite frankly, they have drowned in this pandemonium of lo-fi buzz and overlooked the innumerable benefits that low-budget production brings to the music industry. Lo-Fi is the most genuine form of music, abandoning over-produced effects, auto-tuned bollocks and domineering producers.

Thieving Cobain-esque riffs that disguise his timid antics, Oliver Catt’s fragile vocals are submerged in reverb distancing them from the music and combining effortless drum beats that make Beach Break's self-released, self-titled debut the definition of D.I.Y. Hugely influenced by the American lo-fi scene, Catt's North Yorkshire upbringing is lost in the hazy Californian ambience. His lyrics convey a life of weed, girls and beaches; a cliche of topics for a 17 year old lad laying down tracks in his attic.

The album commences with the sound of the tide, initiating the surf-led stream of nebulous songs. Nonetheless, the album differs from track to track possessing strong grunge influences in tracks such as 'California Couples' and 'Negative'. "Me and Sam, who plays drums, used to sit on the benches at our primary school talking about how we loved Nirvana. So on that basis I'd say Nirvana were the reason I got in a band." 'California Couples' introduces a darker sound to the album, yet later inheriting a Ducktails-esque echoing guitar solo. Catt continues, "I remember them [Nirvana] being the reason I bought my first guitar."

Beach Break is an album that has the potential to illustrate lo-fi's nobility above the pretentious, adolescent wasters to the deluded anti-lo-fi Journalists, and for that I congratulate him.

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