For many people, Wavves seems to have become the type of band where with each new release you know what to expect: killer hooks, angsty lyrics and a healthy dose of attitude. Make no mistake, all three of these ingredients can be found in healthy amounts on the band’s sixth LP, You’re Welcome, but the new album represents a significant growth in the creative freedom and sonic capabilities of a band that people will continue to be unable to pigeonhole.

You’re Welcome is the first Wavves album (not counting the group’s collaborative LP with Cloud Nothings, No Life For Me) to be released through frontman Nathan Williams’ Ghost Ramp label. Williams made it very clear in interviews for the band’s 2015 record V, as well as in the press release for the new album, that his time with Warner Bros. Records had left a sour taste in his mouth.

Williams had told me in 2015 that the long-term goal of his then-burgeoning label, Ghost Ramp, was to release a Wavves album. After several years of continual success, Williams has arrived at his goal. You’re Welcome is unquestionably the highest profile release to be distributed by Ghost Ramp, but given the savvy marketing, the sublime music videos and the phenomenal product, it won’t be hard to imagine that Ghost Ramp’s profile will be growing substantially in the coming months.

Speaking of that phenomenal product, You’re Welcome really is something else. If you are, like me, a longtime Wavves listener and fan, the first listen might throw you for a loop. The 12-track collection is an eclectic blend of samples and styles. ‘Million Enemies’ is Gary Glitter-style anthem rock, ‘Dreams Of Grandeur’ is DEVO-esque power pop and ‘I Love You’ sounds like it could have been an alternate take from a group like The Volumes. But while the songs are undoubtedly strong on their lonesome, You’re Welcome is a record that begs to be listened to in sequence.

Produced by Grammy Award-winner Dennis Herring, who also produced Wavves’ King Of The Beach and Spirit Club’s phenomenal Slouch, this record allows Williams to run wild with his musical interests. An album like V, admittedly a very tight and well-crafted product, demanded that Williams deliver a radio-friendly collection of jams that didn’t push too many boundaries. The tracks were great fun, but You’re Welcome proves that Williams has been waiting to bust out some of his more off-the-wall ideas.

This would seem to be how we arrive at the zany Beach Boys sound of ‘Come To The Valley’, or how more interesting and varied instrumentation (xylophones, jittery keys, video gamey drum machines) works its way into the mix. And yet, through it all, Williams still proves that he is capable of delivering his signature hooks. Very few people in music can write catchy tunes the way this dude can. Williams is routinely and lazily slapped with the “slacker” label, but maybe that’s just because he makes writing obscenely catchy songs seem like its nothing.

Williams’ bandmates — bassist Stephen Pope, guitarist Alex Gates and drummer Brian Hill — are also his longest-serving creative partners, and that kind of chemistry shows. This is, without question, the tightest Wavves record. All the performances are airtight, and that kind of synergy translates to the stage. Ask anyone who has seen the group on their recent jaunt with Blink-182 or at one of their headlining gigs; Wavves seems to be on another tier right now.

You’re Welcome is not a perfect record by any means. Williams attempted to direct his lyrics outward rather than inward and it didn’t always work for me. “I’m by my pool, I’m drinking lemonade,” sings Williams, “No shade!” Not exactly groundbreaking stuff, but then again, people don’t usually listen to Wavves for earth-shattering lyricism.

That being said, a song like ‘Dreams Of Grandeur’ really represents something special for the band. Reworked from an earlier demo, this might be one of the best songs Wavves has ever created. Featuring one of Williams’ best vocal performances and easily some of his best lyrics — which include references to Milton’s Paradise Lost — the track bristles with energy and fun, while adding an emotional depth and sophistication that has not always been present in their music. The band released a fair few singles ahead of You’re Welcome and why this one was not included is beyond me (perhaps because it was previously released as a demo). But make no mistake, this song is a crowning achievement in the Wavves discography.

Altogether, You’re Welcome is a powerful message from Wavves. The record seems to say “fuck you” to everyone who thought that constricting the band’s energy and creativity was the right move. Having stepped out into the sun on their own, it has hard to see Wavves ever looking back.