White Fence: Tim Presley speaks

Interview by Nick Hutchings
Photos: Ruth Swanson, Madeline Allard

WF_by_Ruth_Swanson

I first became aware of Tim Presley’s band White Fence via his sublime split album with San Franciscan garage rock king Ty Segall. I was instantly infatuated with Hair, and upon further inspection, I learned that Tim had been just as prolific as Ty in his musical career, as well as other patrons of garage. Thee Oh Sees’ John Dwyer, happens to have worked with White Fence on his own record label, Castle Face, releasing 2013’s Cyclops Reap.

Under the guise of White Fence, Tim Presley has recorded 6 albums between now and 2010, all in his own lo-fi bedroom studio set-up. His seventh record, For The Recently Found Innocent, sees him leaving the bedroom behind for a full analogue studio with Segall at the control desk.

Naturally, the record is a pure psych pop pleasure. If you too dig the sounds of The Byrds, The Lyres, 13th Floor Elevators and Syd Barrett then For The Recently Found Innocent should be found post haste and played like yesterday. Third track ‘Like That’ has been plaguing my waking dreams for a while now, but tracks like ‘Sandra (When The Earth Dies)’ and ‘The Light’ prove themselves instant classics. I got in touch with Mr. Presley for a little more conversation about the new album. Turns out he doesn’t just like The Chocolate Watchband, he also digs Sleaford Mods.

Last time you worked with Ty Segall on Hair it was on an equal footing. This time he was the boss. How did that work out?

Well, it worked more like – I was the boss of the song, and Ty was the boss of the recordings. These were the roles, and that’s how it played out. Though there were moments where we blurred those lines a little.

For The Recently Found Innocent features a ‘full’ studio set up rather than a bedroom recording situation. Why did you make the change?

I just needed a change. I needed to switch up the method. Ty had been wanting to do some recordings anyways, so the timing ended up perfect. The set up was a small garage, an 8-track, amps, and a drum kit. We only needed 8 for the basics, then we drove the tapes up to San Francisco, and dumped them into Eric Bauer’s 2” machine and 24 track board.

Did you find the change constrictive or liberating?

Both. Liberating because I could let go of the recording and mixing to concentrate on the song and playing, but constricting because we tightened up all the instrumentation and kept it simple.
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Hair was one of my favourite Ty Segall albums – how did the collaboration come about, and what was the best thing about it for you?

Ty came up to me at a show in San Francisco. White Fence had just played, I think. He asked if I’d wanna do a split record. I assumed we’d just split sides. Ty on the A, me on side B. Long story short, we ended up at Bauers’ studio (SF) and he showed me a song he’d been working on. I said hey, I got a song, and I showed him ‘I’m Not A Game’. He learned it in 2 minutes and we recorded it. From there we started writing tunes together. The whole record just fell into place. The best part was how harmonious and easy the whole thing came together. I’ve never in my life made a record that easily. It was like we shared a brain.

For The Recently Found Innocent is easily Hair’s equal, I admire your knack for writing great songs. Where do your ideas come from initially?

I don’t know, maybe because early on, I sold my soul for rock and roll. I don’t have to keep many notes because I’m always at home writing and recording. Idea pops up, I fucking record it. I’m only prolific because I force myself to be. I don’t lolly-gag around bars and waste my time getting pats on the back from social circles. I’m at home making shit.

What’s your secret weapon to get a hostile audience on your side?

Play faster.

What does between song banter consist of?

I’m horrible at that.

Your music appears to be influenced by the likes of Nuggets and the 13th Floor Elevators, yet sounds timeless. Do you dig any modern music too, or are you quite insular?

Recently I’ve been into Cate Le Bon’s new LP Mug Museum, Jack Name’s Light Show and a punk, hardcore band called Hoax. I like that last Sleaford Mods album too. As far as “popular” groups, fuck no. There are some good rappers like Pusha T that I like though.

Above all, which new album are you most excited about?

My new one.
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Good answer. What about Ty Segall, what’s your favourite album of his?

Goodbye Bread.

What was it like to enjoy John Dwyer’s patronage when working with Castleface? How important is he to contemporary garage and psychedelic music?

He’s the king.

What were you found innocent of?

I’m not innocent…that’s the point.

What are you secretly guilty of?

I can’t say.

Do you have any musical guilty pleasures?

I have no shame in anything I listen to. I’ll have my reasons.

For The Recently Found Innocent is out now on Drag City Records.

Pond

Pond
Hobo Rocket

(Modular)

Pond_HoboRocket_albumPond share two members with Australian psych-masters Tame Impala but don’t for a second think this is some throw-away side-project there to keep the band amused in downtime. Far from it, Hobo Rocket is Pond’s fifth album and it’s a glorious rush of pop, noise psychedelia that out freaks anything Tame Impala have come up with. Opening song ‘Whatever Happened To The Million Head Collide’ sets the stall out for the album very quickly, no easing the listener in gently, it slides out of the starting block shimmering with a squelchy Flaming Lips psych-pop vibe, with a pure shot of Butthole Surfers noise running through its veins. This is modern psychedelic music at its best, breathing in fifty years of experimental sounds into their collective lungs and exhaling them all over 2013.

Pond, however, ignore the mistakes of the past and resist the temptation to become self-indulgent and drab, keeping their brand of psychedelia focused and direct. ‘Xanman’, for example, hits the freak out button hard but remains upbeat and melodic, despite the swirling cacophony of noise the envelopes the song. Next up, ‘O Dharma’ is a floating Spiritualized type ballad that twinkles like the Lips own ‘Waiting For Superman’ had it been penned in 1974 by Roger Waters. Then Pond lurch back into the evil lysergic doom of ‘Aloneaflameaflower’ that crackles with such a mischievous ‘I’m gonna fuck up your trip and freak you out’ grin, you can’t help but love it, before running away feeling a bit paranoid and scared.

This is a good time for psychedelic music. It’s good to see the freak flag still waving high.

James Sherry

Pure Love

PURE LOVE
‘ANTHEMS’
(Vertigo/Mercury)

purelove_albumcoverListen without prejudice, as George Michael once said. After all, it’s tempting to view this record through a prism of ‘What Frank And Jim Did Next’, given their pedigree in Gallows and The Hope Conspiracy, and given Frank’s assertion that he’s “so sick of singing about hate” on first single ‘Bury My Bones’. That track is included here, and although it’s a decent tune with a great riff, there are more rewarding treasures to be found on ‘Anthems’.

Frank is blessed with a kind of cold croon that, when paired with Jim’s chiming, often Johnny Marr-esque guitars, creates a sound that will lodge in your consciousness whether you like it or not. The soaring choruses of ‘Handsome Devil’s Club’, ‘Riot Song’ and ‘The Hits’ will sound absolutely epic live, and they even manage to pull off a decent ballad in ‘Heavy Kind Of Chains’.

That’s not to say that all the duo’s rough edges have been smoothed over, though. Opening track ‘She’ rides in on a spiky riff reminiscent of early Manic Street Preachers, whilst ‘Scared To Death’ sees Frank howling away like in the days of old. “All’s fair in love and war/And I’m a soldier in both” he asserts, over a barrage of jagged power chords from Jim, to exhilarating effect.

Ultimately, ‘Anthems’ is an album brimming with addictive, unadulterated rock n’ roll songs and no little confidence. Only time will tell if that’s enough to gain Pure Love the same kind of rabidly devoted fanbase that the duo’s previous bands enjoy, but there’s definitely enough quality here to merit them being taken seriously as a band in their own right.

Alex Gosman