White Fence - For The Recently Found Innocent - Albums - Reviews - Soundblab

White Fence - For The Recently Found Innocent

by Rob Taylor Rating:8.5 Release Date:2014-07-21

The prolific Tim Presley, with band/moniker White Fence, returns with For the Recently Found Innocent. He's joined by that irrepressible wunderkind Ty Segall, who provides the garage studio space, production nouse, and also shares the tubs with Nick Murray from the live band.

 

If you've been keeping up with Presley's output since 2010, it will be apparent to you that he's heavily influenced by psych-rock and garage punk bands from the 60s and 70s onwards, and burnt himself a sizable cognitive imprint of those styles. However, His modern tendency for leap-frogging genres and wilfully drubbing fan perceptions of who he really is as a musician is, at least for me, a tad confounding at times.

 

For example, Live in San Francisco was a superb live outing, but even so, the Dylan sing-spiel vocal style on 'Swagger Vets and Double Moon' did seem a little contrived. 'Lizards First' on the same album unexpectedly contained blues slide-guitar. 'Anna' from Family Perfume had country underpinnings reminiscent of, and sounding like, Merle Haggard. You get the idea.

 

At other times, his considerable songwriting chops just go AWOL. Cyclops Reap sounded a bit tired for want of a good tune, and the drum programming made the album a bit flat. 

 

On the other hand, the last colloboration with Ty Segall, Hair, was a more direct garage-rock outing, positively flowing with good vibes. 'Easy Ryder' from that album was a delicious psych-pop nugget, and the direct descendant for much of For the Recently Found Innocent. 'Crybaby' was similarly impressive, with its nod to the totemic Roky Erickson and his 13th Floor Elevators. Presley, at his best, is still one of the best proponents of the rejuvenated psych-rock/pop culture, and For the Recently Found Innocent is both consistent, and properly honed to his considerable talents. 

 

The title track is, I suppose you could say, the conceptual prologue to the album, and the musical séance begins, with Sgt Pepper turning up for duty. 'Like That' is heavily influenced by the early sound of English psych. 'Sandra', meanwhile, shares the unmistakable cadence of Lou Reed's 'Walk on the Wild Side' with a vocal which could be homage to Syd Barrett.

 

'Wolf Gets a Red Face' commences with a organ prelude like a stage entrance for Boris Karloff, but at the three-minute-mark segues off into quite possibly the most stunning paisley guitar riff I've heard since [anything from] Love's Forever Changes or maybe even the Flamin' Groovies' 'Shake Some Action'. I wanna hug Presley for this one, it's a mother lode of awesome.

 

There's more tune-smith loveliness on 'Anger! Who Keeps You Under' and 'Goodbye Law'. 
The album lags a bit at its midpoint with 'Actor' and 'Hard Water' , jangle pop that's a touch vin ordinaire but not exactly enough to distract you from the main play. 
'The Light' resets the equilibrium with a more Segall-influenced garage track. 'Raven on White Cadillac' has a stellar rhythm augmented by some R&B keyboard hammering.

 

Overall, Tim Presley and White Fence have really bagged it with this one.

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