No Pier Pressure is the tenth studio album by American musician Brian Wilson, released April 7, 2015 on Capitol Records.

It features guest performances by contemporary artists Sebu Simonian of Capital Cities, Kacey Musgraves, She & Him, Nate Ruess of Fun and Peter Hollens.

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 That's Why God Made the Radio.

Wilson intended to record with the Beach Boys after their 50th anniversary celebration, but decided to make a solo album instead.

[3] 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.

Senior staff engineer Wesley Seidman worked with Wilson in the studio, who preferred tracking band performances on ProTools while using vintage equipment.

Accordingly, a batch of new super-high-fidelity C0-100K Sanken microphones were brought out for sessions, being used for drum overheads, orchestra and horn rooms, a mandolin, and acoustic lap steel guitar.

On "Sail Away", co-writer Jim Peterik said: "Again it was myself, Brian Wilson, Joe Thomas the producer and Larry Millas of the Ides of March.

"[17] In July 2014, Wilson announced potential guest appearances by Lana Del Rey ("Last Song"), Zooey Deschanel ("On the Island"), Frank Ocean ("Special Love"), and Kacey Musgraves ("Sharing a New Day", "Guess You Had to Be There"[17]).

The news brought mixed feedback from fans; Wilson is purported to have expressed through his Facebook page: "It kind of bums me out to see some of the negativity here about the album I've been working so hard on.

"[22] Thomas has asserted: "Brian isn't trying to write to a younger or older audience, he's telling the story from his perspective.

"[15] Later, a guest appearance by Nate Ruess of Fun was also confirmed, and that Ocean's collaboration would be excluded, replaced by a remake of the Beach Boys' 1965 instrumental "Summer Means New Love".

"[23] Ocean and Del Rey's vocals were left unfinished due to scheduling conflicts, leaving them absent from the album's final assembly.

[14] Beck described his contributions: "They let me take the melody wherever I wanted the flavor of them to go, but the fact is when you've got the backing of Brian's chords you automatically play West Coast-style guitar.

"[25] Six months later in July, Beck and Wilson's cover version of the traditional "Danny Boy" was said to be included for what is now evidently part of "aborted Wilson–Beck sessions".

"[13] On December 12, 2014, album participants Al Jardine, Blondie Chaplin, Ricky Fataar, Nate Ruess, Sebu Simonian of Capital Cities, and jazz trumpeter Mark Isham were filmed performing with Wilson at The Venetian in Las Vegas for an episode of Soundstage which aired in 2015.

[27] In March 2015, Wilson announced a summer tour to support the album with Jardine and Chaplin, as well as feature Rodriguez as the opening act.

[2] It is distributed through the web and compact disc, while a deluxe edition and vinyl format is available with three bonus songs "Don't Worry", "Somewhere Quiet", and "I'm Feeling Sad".

[49] Rolling Stone gave the album 3 stars and said "There are missed opportunities — the She & Him track is slight, and a rumored Frank Ocean team-up is sadly absent — and a few too many retreads (the "Sloop John B"-ish "Sail Away"), although the harmonies do sound grand with Al Jardine and other Beach Boys teammates on board.

"[37] On "Runaway Dancer", Contactmusic.com wrote: "It's all processed vocals and dance floor beats with a giant pop chorus.

It feels completely separate from the rest of the record, but as it's the second track, you're left with a creeping sense of doubt as the album progresses as to whether more oddities in the same vein will follow, thankfully they don't.

"[50] The Guardian expressed that "Runaway Dancer" sounds like "Wilson trying to recreate house music as described to him by Alan Partridge".

'"[51] Rebeat noted Joe Thomas' "middle-of-the-road musical sensibilities and penchant for auto-tune" and reported "varied" results, writing: "There's plenty of beauty sprinkled throughout, but the listener has to endure a lot of adult contemporary cheese and head-scratching moments to get to that beauty.

"[44] The Arts Desk echoed similarly: "Joe Thomas, whose MOR tendencies are all over this LP like a disfiguring rash ... [it suffers] from the sort of production values normally reserved for karaoke bars and cheap restaurants.

"[45] AllMusic stated in comparison to Smile (2004) and That Lucky Old Sun (2008), "No Pier Pressure certainly doesn't have much to do with the high art that's marked Wilson's new millennium" and concludes that the album "seems genuinely weird, as it's perilously perched between the best and worst of Wilson's pop talent and Thomas' showbiz instincts.

[52] Glide posited that "Wilson's joint experiments with other artists do feel very much like giving into, yes, peer pressure, with his sound being pulled in all sorts of wrong directions.

"[41] The publication also responded to positive reviews by Rolling Stone, The Telegraph, and The Guardian, urging them to "stop encouraging this!

Don't give the people at Capitol Records or Joe Thomas any reason to bring Wilson out for any more obligatory solo albums or collaborations, and let this legend carry on in peace.