Posts Tagged ‘Tim Presley’

I Have to Feed Larry

The Ty Segall-collaborator go-to man for 60’s psych/folk/garage reimagining rekindles the magic in culled from imaginary beatles demos, his penchant for garage nuggets irrepressible.

This album has him at his best again, charming and beguiling, with arrangements that are his most inventive and finely-honed yet. if they found another lost Velvets LP in a skip from between the 2nd and 3rd albums it might sound like this. riyl a.savage, woods, ocs, night beats.“[with] a clear absence of preciousness (which could very well be the album’s coup de grâce) each of these songs feel like they stemmed from some intuitive musical notion in the cold dead of night. fleshed out and placed back-to-back, they become something resonant, whole and inspired”

“I Have To Feed Larry’s Hawk” by Tim Presley’s White Fence is an album that’s going to take some beating this year – it’s a real beaut. Ex member of The Fall, and renowned for White Fence and some great joint albums with Ty Segall, DRINKS with Cate LeBon and Birth Records the label he formed for Jessica Pratt,

More melancholic than last year’s Beefheart nuggets on the second Ty Segall & White Fence album “Joy”, “I Have To Feed Larry’s Hawk” is sparse and unravelling, introspective, delicate, psych and even electronic.

We know that Tim’s a bit of an Anglophile, and there’s a definite Syd Barrett echo here, and a hangover from his work with Cate Le Bon as DRINKS in terms of brittle but beautiful song structure. There’s also 60s garage as you’d expect, piano that tinkles my spine like Elton John, and the teutonic monotone of Harmonia or Cluster on a two song suite that concludes the album. Given the pharmaceutically charged cover artwork, it’s fair to say that having to feed Larry’s Hawk could be allusion to addiction, and therefore this album feels like a self reflective confessional, perhaps that’s why it’s “Tim Presley’s White Fence” this time,

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Tim Presley’s White Fence has materialized: two years on from his solo missive, The Wink, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With I Have to Feed Larry’s Hawk, Tim Presley meets White Fence, and together, they move on.

The surface ofI Have To Feed Larry’s Hawkmay appear to the naked eye as an uncluttered expanse, but it’s hardly placid. In fact, the simple-sounding arrangements found throughout the record are garnished with unusual details which tend to grow gracefully odd and ghostly as they progress. It’s title track has an eerie, dreamlike quality, rolling through uncharted soul territory painting a certain vulnerability with Tim‘s unpredictable brush. The accompanying video for “I Have To Feed Larry’s Hawk” unnerves like a soothingly familiar alien encounter, seen through a lens, darkly.  Directed by Ashley Goodalland painstakingly matching the surrealistic magnetism that so often encapsulates Tim’s songwriting, “I Have To Feed Larry’s Hawk” is a fitting introduction to this new album you should preorder now. Drink up the hypnagogic syrup and bask in the warm glow of Tim Presley’s White Fence!

Title song from Tim Presley’s White Fence’s 2LP/CS/CD “I Have to Feed Larry’s Hawk,” out January 25, 2019 on Drag City Records.

For their sophomore LP as Drinks, Cate Le Bon and Tim Presley (a.k.a. White Fence) absconded to the South of France, holed up in an old stone house, and spent their days sleeping through the heat and recording come nightfall. Without distractions like Wi-Fi and civilization, the pair lived in their own little Shangri-La, and Hippo Lite, the album born of it, conveys the intimacy of two artists free to make whatever sounds they please. The insular nature of the recording process lends an honesty to the album, like children playing away from the watchful eyes of adults. And Hippo Lite is playful; “Real Outside” pairs household object percussion with tangy blurts of guitar, and “Greasing Up” sounds like a campfire lullaby. More than anything, Hippo Lite is a document of intimate creativity, of what happens when you can build a fort with someone you trust and live in shared merriment.


Interdependence Day comes late this year – it won’t be until July 20th that it comes down, and we’re celebrating with a new Ty Segall & White Fence album! Ever since 2012, we’ve been asked when there might be another one from this duo – that was how compelling their Hair album was (and is). If you loved Hair, you’ll definitely be jumping for Joy in late July. Given that Tim Presley aka Mr. White Fence‘s – collaboration with Cate Le BonDrinks’ 
Hippo Lite, is still cooling on the sill, this is pure bonus, and we dig it for that, just as we feel great for scoring bonus Ty too – but when we do this, we’re really missing the point. Having made one record together already, Ty and Tim know what it’s like to bring themselves into a project like this. In fact, they’re transcended it. This time, they came to collaboration expecting to find themselves there. And darn if they didn’t – in shared space, as one entity. It’s interesting to see them mingled amoebically, and as a result, Joy has a whole new thing about it that takes it far beyond any “Hair 2”. Come July, you’ll know what we mean by this. For now, just get “Good Boy” on repeat – before you know it, Joy will have arrived!

Though it’s only been a year since we all jammed out to Cyclops Reap, but garage rock mainstays White Fence are back with a new album . For the Recently Found Innocent will be the fifth album from the Bay Area musician, and the first to feature his compatriot Ty Segall since their collaborative album Hair.


Tough times have apparently fallen on White Fence (a.k.a. Tim Presley), with the new video for To the Innocent track “Like That” chronicling his struggles in the clink.

Escorted into jail by a cop, an acoustic guitar-toting White Fence does his best to smooth things over with a falsetto-sung garage rock song, but ends up getting a couple boots to the ribs from the authority figure and gets choked out by a pair of inmates. Despite the beatdowns, you can only push a man so far before he snaps. One thing’s for sure, that smashed wooden six-string isn’t the only thing that won’t be getting out of there alive.


While the string of collaborations we expected after “Hair” may not have eventuated yet (hardly surprising given both artist’s prolific and varied output), Ty Segall was impressed enough with the songs Tim Presley had lined up for the next White Fence project that he insisted on jumping into the producer’s chair.

A follow up of sorts then but this is much more “Cloud Nine” than “The Traveling Wilburys”, with both artist’s roles clearly defined, and it would be entirely fair to say that both can claim equal shares in the success of “For The Recently Found Innocent”. While the songs and performances are more or less all Presley’s own (and rank among his best in both regards) Segall’s production and guidance provide a perfect vehicle for getting Presley’s infectious melodies into your ears with the minimum of fuss but maximum impact.

The hissy lofi aesthetic that White Fence albums have been previously cloaked in is noticeably absent, replaced by a suitably vintage analogue warmth that allows the melodic charms within the perfect environment in which to shine while looking knowingly and affectionately back to the contents of what must be a pretty fine record collection.

First single “Like that” is an irresistible, falsettoed Who homage that sounds like the very best Pete Townshend demo that you can imagine. “Sandra (When The Earth Dies)” goes all “Village Green Preservation Society” (“Arrow Man is pretty Kinky too). Other tracks touch on everything from liquid San Francisco psychedelia to crystalline folk-rock to late seventies U.K punk, all forged into exciting new/old shapes that make “For The Recently Found Innocent” not so much a homage to, but a peer of so many of those classic artists.

White Fence Live at The Moonlight Motel
Performing “Beat”, “Sandra” and “Make Them Dinner at Our Shoes”.

Presley began recording music in his apartment using primitive and low cost equipment, while still a member of Darker My Love.[1] Presley’s debut solo album, self-titled White Fence, was recorded between 2008 and 2009. The album was released in 2010 on Make A Mess Records, receiving generally positive reviews
Presley’s second album, entitled Is Growing Faith, was released in 2011 through Woodsist Records. The album continued upon Presley’s lo-fi and psychedelic sound, and contained a cover of Johnny Thunders 1978 song “You Can’t Put Your Arms Around a Memory.” The album gathered similarly positive reviews, noting Presley’s developing instrumentation and experimentation.The same year, a live cassette entitled White Fence – Live In LA, was released through the Teenage Teardrops label. The cassette was only limited to 200 copies

2012 saw Presley release three records; two as White Fence and one in collaboration with Ty Segall. The first, Family Perfume Vol. 1, was released on 3 April 2012. The album was the first installment in a double release from Presley.The second volume, Family Perfume Vol. 2, was subsequently released on 15 May 2012. Both albums were released through Woodsist Records and limited to 1000 copies each during its first pressing.The final release of 2012 was a collaboration with fellow California based musician Ty Segall. The album, entitled Hair (album), similarly followed the same psychedelic and garage rock tendencies of Presley and Segall’s respective previous works.The album was released on 24 April 2012, and was recorded and produced by Eric Bauer.
In 2013, Presley released his fifth album as White Fence, entitled Cyclops Reap. The album was originally intended to be a release of Presley’s older work from his previous four albums; however, he instead decided to create an album of new material. The album followed the same production techniques as his previous work, and was recorded on a 4-track in Presley’s bedroom.[11] Castle Face Records released the album in various formats, such as colour vinyl and on Flexi disc.The album received positive reviews.

Presley is also the founder of Birth Records, which solely releases the music of San Francisco-based folk singer Jessica Pratt</strong.
Presley's latest album For The Recently Found Innocent released in July 2014. The album differs from previous releases as it makes use of studio recordings rather than bedroom recording, creating a more polished sound. The album was mixed by fellow collaborator Ty Segall.
Tim Presley – Vocals, Guitar,Josh Puklavetz – Bass,Nick Murray – Drums,Zoe Zag – Keys,Laena Geronimo – Violin