First album of Andrew Caddick.
All music written and recorded by Andrew Caddick between 2009/2010.
Photography cover sleeve by Andrew Caddick.
Drawing by Fleur D.


Your too large White Zombie tee-shirt covers our quasi-ghostlike bodies.
On the windscreen of your parents’ car, we conceive a future constantly late.
We ought to go home, you wouldn’t like your friends to see us together.

Though he might look like a “tough guy”, Andrew Caddick is really a sensitive boy.
For two years now, this former associate of Nathan Williams (Wavves)
in the band Fantastic Magic, has delivered on tapes and vinyls
(including the split vinyls with Best Coast & Jean Paul) a collection of tracks haunted by summer.
During these two years he has also written,
recorded and fictionalized this first album: Nice trash.

Pop melancholy for ghost flirts.
Ten intoxicating tracks able to captivate the waves.
And the memories of that day spent with you.
A new collaboration/friendship between La Station Radar and Atelier Ciseaux.

Jeans Wilder • Paris • March 2011





33rpm + mp3 + Insert
400 copies
Out, December 2010








Jeans Wilder's previous efforts rested safely in the fuzzy arms of lo-fi, but with debut LP Nice Trash, his latest release, we see the Jeans Wilder, Andrew Caddick, step out and up in sprawlers ranging from the noise-laden and sample-heavy to the subtle doo-wop of "Sparkler". This track drapes over you like a grungy, crumpled counterpart to "Earth Angel". (Weekly Tape Deck co-premiere)

Nostalgia is a common theme in music today. It's easy to understand why. Unemployment is at 12% in California, services are being slashed to the bone through budget cuts, politics are depressing. The people of my generation--20-somethings who came of age in the '00s but are old enough to have enjoyed life pre-9/11--are bearing the burden of a whole range of problems that somebody else caused. So it's only natural that nostalgia sets in. Nostalgia for youth, for Saturday morning cartoons, for the hot rods and surfboards and babes of the long-gone '50s and '60s era. You'll hear nostalgia in "Sparkler," a cut from Jeans Wilder's new Nice Trash LP, which comes out tomorrow on French labels La Station Radar and Atelier Ciseaux. You'll hear it in the track's doo-wop rhythm and you'll see it in the antique, scratched-out footage of naked women with retro hairdos in the video (above). But "Sparkler," with its longing melody and dub echo, is beyond nostalgic. It's depressed. As he sings his lovelorn lyrics--"And the tears on my pillow keep waking me up / From this beautiful dream / That you're still here with me"--Jeans Wilder mastermind Andrew Caddick sounds like he's neck-deep in his own tears, trying not to drown.The lyrics in "Sparkler" are about a girl who's gone away, but--excuse me while I get meta for a minute--they could very well be about the classic image itself. The '50s and '60s had the U.S.S.R., the nuclear threat and anti-Communist paranoia in addition to hot rods and surfboards and babes. Maybe the romanticism, the germ that gives nostalgia its magic, somehow slipped away from Jeans Wilder. He calls it back with this doo-wop song, he dreams a beautiful dream, but the magic has been replaced with the sinking impression that life back then wasn't so magical compared to life today. The enemies were different, of course, and the unemployment rate might not have been as bad--and nobody had iPhones back then--but the politics were just as depressing. Young people were just as burdened with their parents' problems. That's my interpretation, at least. It could also have nothing to do with what's going on today or back then or any time anywhere. It's just a sad song about a boy in love and the girl who's left him: the classic song suspended in time.Jeans Wilder celebrates the release of Nice Trash at Tin Can Ale House tonight. Speculator, Teen Porn and Raw Moans also perform.
Tuesday, Dec 07, 2010

Jeans Wilder is the enthralling project of Andrew Caddick, a former member of Fantastic Magic. He’s released an LP, “Nice Trash”, via Atelier Ciseaux and La Station Radar. I’ve been waiting awhile to hear this one, and it doesn’t disappoint. “Nice Trash” plays like a ghost in the room. It hovers about the hallways, inhabits space like consciousness. The single, “Blanket Mountain”, begins with a tribal drum loop, and the sound of softly shaken maracas, before a static buzz enters. Then an 80s-styled synth note builds in volume, ever so slightly, as Caddick sings in high falsetto with a heartbreaking clarity. It’s a track that envelops as it builds. I suspect that may be the reason for the song’s title. It’s a good example of what Jeans Wilder can do with his music. Not one wasted note. It’s all about creating delicate moods, and minor shifts of ambiance. But it’s not a gloomy record. Take “International Waters” for example. A playful synthesizer-flute groove, reminiscent of those ‘Miami Vice’ tropical instrumentals, repeats a glowingly beautiful melody behind Caddick’s emotive crooning. It’s really difficult to pick a song that is the quintessential Jeans Wilder sound. They’re all so different, while keeping an unmistakable tone. “In My Dreams” is a golden light — a pleasant stroll into some world of Jeans Wilder’s invention. The looped melody is pretty as pretty can be. Caddick’s vocals beckon you away to a slumberland where all days are sunny, all dreams kaleidoscopically beautiful and all voices are as soothing as his. There are elements of do-wop and old-school 1950s balladry scattered across the record. I kid you not. It’s brilliant. A song like “Sparkler” feels both out of time and timely. It’s part Bobby Darin singing “Beyond the Sea”, with a modern twist. The vocals are reverbed, and ghostly. The songs imagery is decidedly old-world: “your eyes sparkle”, “tears on my pillow”, “beautiful dreams”, “you’re still here with me”. But don’t get too used to going back in time, because Jeans Wilder goes avant-garde with tracks like, “Let’s Share This Place” and the gorgeous “Be My Shade”, with it’s clicking, circular noises and warped sensibilities. I highly recommend purchasing this record. It’s inventive and shrouded. Whatever you think of “Blanket Mountain” below, that song only touches a small part of what this album is.
16 December, 2010, by David D. Robbins Jr.

Andrew Caddick, aka: Jeans Wilder returns from the land of cassettes and 45's, this time with a dazzling new long player entitled Nice Trash.This man is no stranger to breezy melodies, having spent time in the breezy folk-pop outfit Fantastic Majick (with Nathan Williams of WAVVES fame), he's since released a ton of tapes and vinyl on various labels like Night People and Bathetic, and we just can't seem to get enough of him.Nice Trash is a deeply personal affair.Haunted lullabies for teenage ghosts to fall in love to.Somber pop ditties recorded inside of a patch of gray clouds.Every bit of this album shows a completely natural progression for Caddick and his craft, and nothing sounds forced or premature.It's deinitely a bit more "grown up" than previous recordings, on all fronts.Yet it retains a naive and youthful charm.His subtle voice has definitely come a long way, and just floats throughout the songs quite effortlessly, almost as if the polite instrumentation was written around his words, with some of them barely reach a loud whisper.Hushed guitars tiptoe down a shimmery path paved with lightly brushed percussion and low end vibrations, crafting beautiful, yet eerie chords that dance sway in the distance.
January 28, 2011

Jeans Wilder may have made one of the cheapest good albums of all time with Antiques, on Nice Trash the vocals are still buried in cheap echoes, which is good since they would not be stellar alone. The synthesizer malice is still on display in “Be My Shade”. It is neither grating, nor overly intense, the loop a begins the loneliness all over again as the singer repeats “be my shade” until it is cut off by a well-produced version of “Deep End of the Pool”. With a proper drum set in “Blonde Beach”, the electronic swells crash atop the simple trippy rhythm and rises with more indiscernible vocals. “I Don’t Want to Live Forever” is half glitch rhythm and new wave syth lines and half cheap distorted church organ. “Let’s Share This Place” is at odds with itself as an inert drone faces a pair of cute maracas and detached vocals. The rest of the tracks reinterpret rhythms and melodies with the super lo-fi Jeans Wilder aesthetic; “Blanket Mountain” has a nice African rhythm; “International Waters” is more mid-80s New Wave; “In My Dreams” borrow from Ben King’s famous song “Stand By Me”; “Sparkler” slows down a carnival theme; and “Light Sleeper” takes a typical romantic guitar and lathers it is echoed vocals and drums. It may be cheap and somewhat predictable, but Jeans Wilder manages to make a pretty good album with very few ideas, none of which are magnificent; this is no small feat.

It’s been a big 18 months for chillwave. As far as I can tell, though I’m sure there was some under-underground beginnings that I’m entirely unaware of, it’s gone from 0 to 60, or, more likely, a nice, comfy, top-down 25. Despite it’s popularity, no one could bring up it’s existence without also acknowledging the buckets of ire that have also been directed towards it. I find that this happens with most newer genres that rocket to ubiquity, but that doesn’t necessarily mean that it doesn’t have it’s problems. Most obviously people seem to condemn it’s perceived sameness: that different artists, and even songs, are indistinguishable from each other. I guess that this can be true at times, but go ahead and turn on literally any radio station and see if you don’t start to feel the same way about a multitude of other genres. No, if there was one faceless, mostly unqualified, cheeto driven internet complaint I would level at chillwave it would be some of the artists attempt to falsely exploit the quality of a sun bleached, polaroid photographed, emotionally honest fun. So my long winded point is: I like Nice Trash because not only does it have enough of a unique sound to stand out, but it also, mostly for the best, sounds genuine. Jeans Wilder tries out all different things on Nice Trash, never content to stick to one specific sound, even if sometimes that experimentation may lead them slightly astray.I’m a particular fan of the foreboding electronic presence on “Be My Shade,” and it’s dreamy ecstatic counterpart on “International Waters.” Then, suddenly, on tracks like “In My Dreams” you’re treated to a straight up execution of doo-wop. Not to say that this album doesn’t stay in a decided low-gear (you’re not getting any guitar solo’s folks), it never settles into any sort of rut. The album’s mood can’t be summed up by a grainy picture of a beach. So, like it or not, chillwave seems here to stay. But as long as artists like Jeans Wilder are willing to use the genre as a launching pad instead of a security blanket, I’m sure it’ll be fine.

"I'm just reading this press release while I try to get some sort of handle on just what's going on with this, having never heard the band before, and while it's not a huge amount of help to me I've become quite transfixed by the line 'Though he might look like a “tough guy”, Andrew Caddick is really a sensitive boy'. Sadly it seems to be referring to the main man of the band though, and not the ex-England cricketer. OK we're a couple of songs in now and it's starting to feel fair for me to get myself in with the genre-coining pricks by offering 'chillgaze' to the world.. Although it wouldn't surprise me if someone else has got there already. It's totally got that 'weird combination of pop and experimental, ambitious and lo-fi, psychedelic and grainy' thing going on and I reckon it's doing it about as well as anything else I've heard to date. I quite often find that decent songs are the missing link with these things but that's certainly not the case here. Actually now I'm sort of getting a homebrew Deerhunter-y sort of a feel for it now that I think about it. And now the song that's on sounds like Hype Williams. I don't even know what this sounds like but it's good."

Une jolie poubelle... Une curieuse destination pour enfouir d'une façon dédaigneuse et ravissante les vestiges d'une relation passée. Grand impudique de la chose lo-fi, Andrew Caddick n'en est certes pas à son coup d'essai dans cette façon de livrer en pâture ses sensations les plus personnelles. Une discographie impeccable couchée sur vinyles et cassettes a déjà attiré l'attention de labels indépendants américains (Bathetic Records, Night People) et français (La Sation Radar et Atelier Ciseaux qui remettent aujourd'hui le couvert) parmi les plus enthousiasmants de l'époque. Dès les indispensables premières cassettes nommées très justement Antiques (2009) et Relics (2010), on pouvait comprendre que quelque chose de fondamental se situait dans l'esthétique du souvenir chez l'artiste américain. Comme dans l'œuvre de The Caretaker, l'altération du son renvoyait à celle de la mémoire, pour estomper et filtrer le regard que l'on porte sur les faits d'un autre temps. Dans un registre beaucoup plus pop et moins “noisy”>, Nice Trash – tout comme Lost (2009) d'Ela Orleans – transpose cette exigence sous une forme épurée et mélodique. La production est aux antipodes des canons de l'époque, le souffle est présent, le silence crépite et la magie opère. On est saisi par l'évidence, la simplicité, le souci méticuleux du détail. Tout est à sa juste place, sans aucune pose... Tel un vœu pieux, Be My Shade ouvre l'album et l'imaginaire de l'auditeur aux trésors qui poursuivent. Blonde Beach, ses guitares vibrantes et sa rythmique immuable rappellent ainsi un Loveless (1991) éthéré dont la singularité ne sera pas singée de sitôt. Si la structure de zouk expérimental faisant l'ossature de Don't Wanna Live Forever a de quoi surprendre (ou faire sourire) de prime abord, le titre se révèle tel un bijou d'une bouleversante sensualité. Tout aussi vaporeuse, Blanket Mountain donne une leçon de distinction à tous les nostalgiques aux petits pieds. International Water est peut-être l'un des meilleurs titres associables de près ou de loin à la chillwave. L'album change alors de ton mais conserve toutes ses couleurs délicieusement délavées : In My Dreams, Sparkler, Pumkin Patch et Light Sleeper évoquent le romantisme envoûtant du maître Roy Orbison – dans cette même gamme où Dirty Beaches parvient parfois à fasciner. Nice Trash est un testament de dix chansons évoquant les ruines d'un amour passé, patinées par le temps et immortalisées à un moment idéal de l'oubli. C'est beau à en pleurer.
By XAvier Mazure

C’était au début de l’année. Presque un an donc que par l’intermédiaire d’Atelier Ciseaux, j’ensoleillai mes esgourdes d’un reggae lo-fi sans âge : Tough Guys ou l’avant-goût presque trop parfait des chaleurs estivales, ébauché par un type que j’imaginais être le plus cool de la côte ouest américaine. Sans être complètement dans les choux – le bonhomme participant alors à un split vinyle avec l’invétérée slackeuse Bethany Cosentino et son groupe Best Coast (lire) et ce, après avoir partagé son appartement et son amitié avec Nathan Williams, trublion de l’électricité biturée (lire) – certains artistes déjouent chaque pronostic jusqu’aux moindres clichés, prenant à contre-pied l’air du temps et sa dose extensive de conformisme ambiant. Car Andrew Caddick – ou Jeans Wilder selon son état civil musical – en plus de dispenser un son à l’authenticité exacerbée, se trouve être une personne atypique, à rebours de l’idéologie de l’omniscience, favorisée par internet et la profusion de démo, face B et autres ébauches reprises en cœur par l’internationale blogueuse. Non, Andrew, à l’image de sa musique et de ses influences composites, est une personne rare, presque inestimable. Mais il faut lui consacrer du temps. Car si l’on considère les flots ininterrompus qui balayent nos plages hi-fi, la recherche de l’étrange nouveauté devient compulsive, sans lendemain, en un mot épileptique. D’un côté l’omniscience diarrhéique, de l’autre la frénésie amnésique. Bien mal barré que l’on est, au cœur de la nuit, meurtri par cette ineffable perte de sens d’une sémantique musicale jusqu’alors si poignante. Au tamis du temps, à celui des jours et non plus à celui des années, que reste-t-il d’une chillwave photocopiée jusqu’à la lie ? Que reste-t-il d’un post-shoegaze décalqué à l’infini ? Quelques bribes de morceaux compilés, pas grand chose, un trouble rêve dans un écrin de fumée opiacée. Peu d’albums surtout. Et encore moins de bons albums, se contentant d’aller au-delà des formules éculées, osant l’intimité au dépend de la grégarité. Co-réalisé par Atelier Ciseaux et La Station Radar, Nice Trash de Jeans Wilder, à paraître le 8 décembre prochain, s’inscrit dans cette veine verte et violacée du dépouillement de soi, de la mise à nue d’une fragilité émotive, lovée jusqu’aux confins du moindre arrangement. Quand d’autres empilent en continu les essais non transformés, Andrew amplifie le soin du détail, n’hésitant pas à consacrer deux années de sa vie dans le fignolage obsessionnel d’un disque à la splendeur spectrale et habitée, où la complainte amoureuse se pare d’un grain doucereusement passéiste, tel un regard mélancolique tacheté de poussière mordorée. Tout en restant éminemment contemporain – comment ne pas déceler le voile shoegaze de Blonde Beach ? L’ambient hantée de Blanket Mountain ? La chillwave percluse de beats vaporeux d’Internationals Water ? – Jeans Wilder fait montre d’un attrait sans fard pour les ballades au flegme romantique en plein cœur des sixties : In my Dreams et Sparkler d’abord, aux charmes délicieusement surannés, le mirifique et conclusif Light Sleeper ensuite, où un arpège de guitare chancelant se joue des métronomes, magnifiant la poésie lunaire d’un Andrew à la voix nimbée d’échos. Singulier et fascinant, un tel épanchement dévoilé vire au chef d’œuvre minimaliste avec Be my Shade, introduisant Nice Trash d’un sample à la sinusoïde transpercée d’atermoiements fantomatiques, que l’on jure susurrés dans l’ombre. Don’t Wanna Live Forever aurait pu constituer la seule faute de goût de l’album, de par son rythme et ses claviers à la ringardise assumée, s’il ne basculait pas subitement vers l’un de ses moments les plus touchants, où l’infini désespoir s’arrachant des tripes émerge d’une brume électrique crépitante. Une gageure. C’est bien peu de dire qu’il est malaisé de rester insensible aux volutes sentimentales de Nice Trash, aimanté que l’on est par la sincérité prodiguée par son auteur. Un Andrew Caddick que l’on s’est permis de contacter pour une entrevue à l’image et à la hauteur de l’homme, décontractée et sans fioriture. Le bonhomme s’est même fendu à votre intention d’une mixtape de toute beauté – à écouter et télécharger ci-dessous.