Grade: B+ | The High Llamas’ mastermind, Sean O’Hagan, has been called everything from a Brian Wilson protégé, to a disciple of Brian Wilson, a Brian Wilson rip-off, a Brian Wilson imitator, or a patron at the church of Brian Wilson.

That’s in part because the Englishman’s music sounds like a cross between Brian Wilson’s solo career and The Beach Boys, and also because the front man has copped in countless interviews to being raised on the eccentric legend’s brand of 1960s harmonious pop.

But being accused of sounding too similar to an influence is like a pitcher being criticized for throwing too much like Roger Clemens. Though the situations aren’t 100 percent similar, as athletes aren’t judged on their originality, the sentiment is the same – drawing comparisons to an icon is never a bad thing.

And O’Hagan can’t shake the parallels; even though “Can Cladders” – his eighth LP fronting the Llamas – incorporates more than just densely-layered melodies, legions of string and wind instruments alongside basic guitar parts, plush harmonies and twinkled keys. While each of his past records has felt like listening to “Pet Sounds,” the song not the album, on repeat again and again, “Can Cladders” incorporates elements of Swedish twee pop with Burt Bacharach-esque moments.

Yet it still has undeniable Wilson undertones. However, at this point, those might as well be referred to as “O’Hagan undertones,” since the singer has recorded the same simply majestic and somberly theatrical records for more than 15 years. Even if he dabbles in only the more quiet and thought-provoking elements of his predecessor’s illustrious catalogue, lacking the fun-in-the-sun moments of those early surf tunes, O’Hagan and the High Llamas are every bit as interesting and consistent as The Beach Boys best moments.

“Can Cladders” just does it a few decades too late.