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The new generation of beach-going boys and girls listen to many great things: Real Estate, Beach Fossils, Best Coast, Wavves, Jeans Wilder.
Jeans Wilder is the stage name of a bearded Californian lad, namesake of the famous Andrew Caddick, a cricket player from the legendary English national team of the nineties: he has a passion for certain minimalist lo-fi, for the bonghetti, for surf which, however, he cannot do, for fuzz, for doo-wop ballads; it's wonderful how he managed to fit all his passions, soak them in classic romantic disappointment - nice trash is how his ex describes him - and put them on this record.
Like Dirty Beaches, Jeans Wilder creates ambient music: you won't find Surfer Girl, Surf's Up, or even Earth Angel in his records, but you'll find a synthesis of their basic components exaggerated, expanded, booming: thus, the enchanting lull of Sparkler, the most successful, is a pseudo-doo-wop - without the vocal baroques - where the guitar, very distant, mimics the classic Wilsonian falsetto (Brian); an antique piece updated to fit the renewed needs of the beached new generation, easily summed up in apathy and reverberation. Be My Shade in the opening is literally sung on a wave. Blonde Beach redefines the meaning of fuzz-pop. International Waters is liquid-state synth-pop. And everything else is also worth it, truly, to be taken as an amorphous aggregate of sound themed around songs from a beach deformed by smoke, as one would take a Grouper record; and to linger on the manifest beauty of certain vocal lines, sometimes evaporated, buried under tons of sound.
How beautiful, the summer of twenty ten.
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