By Azzam Bilal 
HangupsMusic.com – Los Angeles, The trajectory of an artistic collaboration is often unpredictable, but few projects in recent memory have undergone a transformation as drastic or as public as Cherry Soda. What began as a highly anticipated joint venture between two titans of the alternative and indie-punk scenes—Nathan Williams of Wavves and Max Bemis of Say Anything—has morphed into a solo reclamation project. Following a series of serious allegations leveled against Bemis, Williams has taken the decisive step of stripping his former partner’s contributions from the record, rerecording the material, and preparing to release Cherry Soda as a standalone Wavves album. This pivot marks a significant moment in contemporary music, highlighting the complex intersection of creative partnership, professional ethics, and the logistical nightmares of the modern vinyl industry.
The announcement of the original collaborative LP had initially sparked excitement among fans of mid-2000s emo and surf-punk. Nathan Williams, the creative force behind the lo-fi, sun-drenched distortion of Wavves, and Max Bemis, the verbose and theatrical frontman of Say Anything, seemed like an intriguing, if unexpected, pairing. The two artists represent different corners of the alternative spectrum: Williams with his gritty, beach-bum nihilism and Bemis with his sprawling, confessional pop-punk narratives. For nearly a year, the duo worked on the project, which was slated to be a centerpiece of the fall release calendar for I Surrender Records. However, the collaborative spirit that fueled the album’s creation evaporated almost overnight when the public became aware of disturbing allegations involving Bemis.
The controversy erupted last month when several fans came forward on social media platforms, most notably the Say Anything subreddit, to share accounts of inappropriate interactions with Bemis. These allegations included claims of flirtatious and suggestive messaging directed toward fans who were teenagers at the time of the encounters. As the stories gained traction and were supported by screenshots of the alleged conversations, the fallout was immediate. Bemis, who has long been a polarizing but respected figure in the scene for his openness regarding mental health, faced a swift backlash. In the wake of the growing outcry, Bemis opted to cancel a scheduled string of solo acoustic performances, citing a need to step back. To date, he has not issued a comprehensive public statement addressing the specifics of the accusations.
For Nathan Williams, the situation presented both a moral dilemma and a professional crisis. Williams had invested significant time and resources into Cherry Soda, and the sudden toxicity surrounding his collaborator threatened to bury the work entirely. His response was characteristically blunt. Taking to his Patreon and later his Instagram, Williams made it clear that he intended to sever all ties with Bemis. "I don’t want to be associated with the guy," Williams told his subscribers, later escalating his rhetoric in a candid social media post: "Not sure what to say but fuck Max. Fuck Say Anything." Williams expressed a deep sense of frustration, noting that while he had spent eleven months meticulously crafting the record, Bemis had reportedly contributed only four days of work. This disparity in effort seemed to make the decision to move forward solo easier from a creative standpoint, even if the logistical hurdles remained daunting.
One of the most significant complications in this transition is the physical reality of the music industry. In his initial communications with fans, Williams pointed out a major obstacle: ten thousand copies of the original collaborative version of Cherry Soda had already been pressed to vinyl. In an era where vinyl production lead times can stretch to six months or a year, and where indie labels operate on thin margins, the prospect of discarding ten thousand units is a financial and environmental catastrophe. It remains unclear how I Surrender Records and Williams intend to handle the existing stock—whether it will be destroyed, recycled, or held in a warehouse indefinitely—but the new solo version of the album will feature entirely different cover art and a revised tracklist to distinguish it from the scrapped collaboration.
To signal the new era of Cherry Soda, Williams has released the project’s first official solo single, titled "Pinesol." The track serves as a stark departure from the collaborative energy of previous teasers and leans heavily into the dark, idiosyncratic songwriting that has defined Wavves’ recent output. In a press release accompanying the single, Williams offered a glimpse into his headspace during the writing process, which shifted away from the personal and toward the macabre. He explained that the lyrics were inspired by a fascination with "cold cases" and true crime narratives. Specifically, he became fixated on stories of individuals using household cleaning products to scrub away evidence of their crimes.
"I got tired of writing about myself so I went Forensic Files on it," Williams remarked, referencing the long-running true crime documentary series. The song’s title, "Pinesol," reflects this obsession with domestic erasure. Williams’ signature wit remained intact during the press rollout, even as he expressed his disdain for the promotional requirements of the industry. "God I hate writing these press quotes," he added. "Wish I could drink some Pinesol right now." The track itself is a quintessential Wavves anthem, blending catchy, power-pop melodies with a sense of underlying dread, a combination that feels particularly resonant given the circumstances of the album’s rebirth.
The digital footprint of the original collaboration has already begun to vanish. "Deathx1k," a song previously released as a joint effort between Williams and Bemis, has been pulled from major streaming platforms like Spotify and Apple Music. This "scrubbing" of the digital record is becoming an increasingly common tactic for artists looking to distance themselves from problematic associates. By removing the tracks, Williams is effectively resetting the narrative, ensuring that when Cherry Soda arrives on October 30, it does so as a cohesive solo statement rather than a compromised relic of a failed partnership.
The decision to rerecord an entire album is a massive undertaking, but it speaks to Williams’ commitment to his brand and his audience. Wavves has always occupied a space in the music world that feels raw and authentic, and allowing the album to be released with Bemis’ involvement would have likely alienated a significant portion of the fanbase. By taking the reins and returning to the studio to "finish it as a proper Wavves album," Williams is attempting to salvage nearly a year of work while maintaining his integrity. The new version of Cherry Soda is expected to retain the core instrumental skeletons that Williams built over those eleven months, but with his own vocals and rewritten sections replacing the parts originally intended for Bemis.
As the October 30 release date approaches, the music community is watching closely. The situation serves as a case study in how the "indie" infrastructure handles internal crises. Unlike major label artists who might have massive legal teams to navigate such a fallout, Williams and I Surrender Records are navigating these waters in real-time, often through direct communication with fans on social media. The shift from a "joint LP" to a "solo version" is more than just a change in billing; it is an act of artistic purification.
Ultimately, Cherry Soda will likely be remembered as much for the drama surrounding its birth as for the music itself. However, if "Pinesol" is any indication, Nathan Williams is more than capable of carrying the weight of the project on his own. By leaning into his fascination with forensic science and the cleaning of "crime scenes," he has found a fitting metaphor for his own professional situation. He is cleaning the slate, erasing the traces of a partner he no longer trusts, and preparing to present a version of the record that is uniquely his. Whether the final product can transcend its turbulent origins remains to be seen, but for now, Williams is focused on the October 30 deadline and the chance to finally put this chapter behind him.
