My Psychfest adventure now a flickering tea-light in the distance, I thought I’d pretty much had my fill of bands linked with the omnipresent “psychedelia” tag in whatever questionable fashion. Truth be told I’ve bought a few “homework” records on this basis that I’m not really enjoying. Seemed to spend a fair bit of time at Psychfest listening to po-faced bands, bass cranked up to eleven, plodding through turgid sets, surrounded by earnest punters, heads bobbing grimly, and I’ve come to the conclusion I can’t be doing with that. All a bit dull, if you ask me. Can’t even say I’m much of a fan of the ubiquitous Ty Segall – I can do small doses, but then I feel like a bit of a lie down, to be honest.
This feller is venturing out West in the New Year, though…
White Fence, as you’ll probably all know, are the vehicle of Tim Presley, who’s been around for a good while now, releasing a whole bunch of records, including last year’s Cyclops Reap which I’ve been listening to a lot this week, believing it to be his most recent, until I discovered this year’s Drag City release For The Recently Found Innocent. This is not just me being slow (although clearly…) Presley is genuinely hard to keep up with – I gather he released three records in 2012 alone (including Hair with Ty Segall). What can you do?
(While I think of it, I can’t believe that rock musicians are genuinely born with a name like “Presley”, so I’m guessing he’s changed his name at some point – I really hope it was the Troggs he had in mind…)
White Fence records are trebly, twangy affairs, dominated by meandering guitar lines and generic psyche tics – managing to sound like the Pretty Things and Love at one and the same time. Anyone who’s ever spent more than fifteen minutes in my company will know that I’m a simple fellow and that this will pretty much do it for me.
One of the things I really like about a White Fence record, I think, is that Presley isn’t afraid to turn the bass down. I know I sound like my Dad at this point, but I’m a bit fed up of not being able to hear anything but bass and drums at gigs. Truth be told, it’s becoming a bit of a thing… Cyclops Reap, by contrast is full of shrill delights, punctuated throughout by loose-stringed, winding guitar breaks, venturing only occasionally into the realms of fuzz and wah-wah. It’s a record that apparently signals Presley’s emergence from lo-fi productions into more professional productions but really these things are all relative. You’d not really say it’s a polished record…
There’s not too much proper video of White Fence, not even any “official” stuff, but I like this footage of a set at something called Phuzz Phest, the first track, Anger! Who Keeps You Under? featuring the man himself bowing his guitar Eddie Phillips-style. Perfect!