Man, it’s rough being California’s neighbor. That state has it all compared to Arizona — beaches, Hollywood, an even bigger budget crisis and it can even claim its own style of music. The “California pop” sound that made The Beach Boys an iconic band has been duplicated, sometimes with success but often with disastrous results, by countless bands since Brian Wilson and company were the toast of American pop music.

Of those imitators, few bands have fully epitomized this sound as well as Sherwood, a five-piece from San Luis Obispo in central California.

Often flying inexplicably under the radar, Sherwood has released its fair share of top-to-bottom solid albums and EP’s without much fanfare, including its latest MySpace Records release, “QU.”

“QU” opens with the a cappella harmonizing on the not-quite-a-minute-long song “Shelter,” which gives way to the bass-heavy “Maybe This Time.” Tension slowly builds before exploding into a huge chorus full of pounding drums and an anthemic tagline backed by a barrage of “woah-oh’s” to add to the effect.

The soft strumming of an acoustic guitar welcomes listeners into “Hit The Bottom,” and here it is obvious that the band has matured since its past releases. Trading in effects and layers for vocal harmonies and a more natural sound, Sherwood is at its finest. Singer Nate Henry’s vocals are backed by those of his bandmates in the harmonies of the chorus to give the song a full, endearing sound.

“Make It Through” embodies the “California pop” sound better than perhaps any other song on the album. A wordless harmony is the greeting to the song before a bouncy bass line and handclaps provide a soundtrack to a warm afternoon on the beach.

The introspective “Ground Beneath My Feet” begins as a soft piano ballad before jumping headfirst into a full-blown rock song that crescendos with an enormous, arena-ready chorus. “What Are You Waiting For?” is a catchy mid-tempo track and paired with “Not Gonna Love,” it keeps the second half of “QU” from bogging down as so many albums do

“Worn” is the album’s first true, slowed-down ballad. Singer/songwriter Molly Jensen’s vocals make an appearance on the track and pose a stark contrast to Henry’s vocals. The result is a dark acoustic tune and a muscle-flexing display of Sherwood’s versatility. Already on “QU,” the band has showcased an ability to craft undeniably catchy indie-pop hits, arena-ready anthems and now a ballad that gives an intimate view into chief lyricist and guitarist Dan Koch’s life.

The pace is revived on the synthesizer-infused “Free,” and a fading outro transitions to the stirring finale “No Better.” The piano-driven tune is a dreary, rainy day of a song that is so heartfelt it almost feels too personal to be listening to. Koch’s painfully introspective lyrics pair with Henry’s flawless delivery to turn out one of the definitive songs of the band’s career.

The progression of the band from its past releases to the mature sounding “QU” is staggering. The songs are stripped down, straight up pop-songs that rely on their simplicity rather than the layers of effects that defined Sherwood’s past work. “QU” proves that the band has honed its skills and is at the top of its game.

The Beach Boys and their fellow predecessors of the “California pop” sound would be proud.

Reach the reporter at jdfourni@asu.edu.