White Fence – For The Recently Found Innocent (2014) [FLAC]

White Fence-For The Recently Found Innocent-(DC603)-CD-FLAC-2014-k4 Download

White Fence-For The Recently Found Innocent-(DC603)-CD-FLAC-2014-k4

Description :

a r t i s t :: White Fence
t i t l e :: For The Recently Found Innocent
d a t e :: 2014-00-00
l a b e l :: Drag City
g e n r e :: Psychedelic Rock
s o u r c e :: CD
b i t r a t e :: 910 kbps avg
e n c o d e r :: FLAC 1.2.1 -8 -V
t r a c k s :: 14
p l a y t i m e :: 40:12
s i z e :: 264.3MB


1 The Recently Found 1:04
2 Anger! Who Keeps You Under? 3:12
3 Like That 2:42
4 Sandra (When The Earth Dies) 2:26
5 Wolf Gets Red Faced 5:09
6 Goodbye Law 2:30
7 Arrow Man 2:34
8 Actor 2:00
9 Hard Water 2:57
10 The Light 2:37
11 Afraid Of What It’s Worth 4:22
12 Fear 3:00
13 Raven On White Cadillac 2:45
14 Paranoid Bait 2:54


For The Recently Found Innocent is the fifth album by White Fence, the stage
name of Los Angeles-based psych-rocker Tim Presley. Presley is a highly
prolific songwriter who compulsively writes and records skewed tunes to a
four-track tape recorder in his bedroom. This budget conscious home studio
setup has given his music—most of which has been released via the labels
Woodsist and Castle Face—a distinctly wobbly and elastic sound. Midway
through, a song might slip suddenly into an entirely different set of chord
changes, as if Presley had simply stopped and pressed record again on another
idea. Sometimes a track will lurch forward or backward in tempo as a result of
a bump or tweak to the recorder’s pitch knob; the drums are usually little
more than single-bar breaks snipped out of other rock songs and haphazardly
strung together into off-kilter loops.
But by the time of 2013’s Cyclops Reap, Presley had gotten handy with that
tape machine, and the strange transitions and shaky rhythm tracks started to
seem like a natural and indispensable part of White Fence’s headspace. For The
Recently Found Innocent, Presley’s debut for Drag City, is the first White
Fence LP to be recorded outside the confines of his home—but it’s not as if
he’s moved into Muscle Shoals. The recording quality a modest step up at best,
with Presley swapping out four-tracks for eight and his bedroom for Ty
Segall’s garage. It’s a change in pace, but not necessarily a nudge out of
White Fence’s comfort zone. Segall and Presley collaborated together on 2012’s
excellent split LP, Hair, and they have similar sensibilities when it comes to
guitar solo, fuzz pedals, and out-there production tricks.
As a result, some of the wonky studio artifacts from Presley’s bedroom days
have mostly been preserved, which is a good thing. Though Presley’s music
takes melodic inspiration from ’60s psychedelic pop—both British weirdos like
Syd Barrett, and West Coast folk-rockers like Buffalo Springfield—it’s rare
that his songs cop their druggy feel from fuzz pedals or delays. Instead,
weird tape tricks and glitches do the work by skewing the listener’s
perception of time.
Presley is also a better lyricist than your average Nuggets devote. He has a
talent for making surreal psychobabble sound musical, and for implying a sense
of narrative in verses that aren’t immediately understandable. But there’s
often a clear intent in the songs that’s enhanced by the gonzo wordplay. On
“Like That”, Presley half-jokingly pines for lifestyle upgrades that prove to
be out of reach on an underground rock salary—silver gates, disposable income,
less attention from police. “Clean and sharp and always laughing/… Police
see us but don’t see us,” he sings. “I want to live like that.”
Last year, Castle Face released a live White Fence record that was recorded
with a full backing band, a tight and energetic reading of songs from
Presley’s back catalog that stretched all the way back to his self-titled
debut. For the first time, you could hear White Fence outside the context of
Presley’s four-track, and it sounded pretty huge; even his grimiest tracks
came alive in a way that the tapes didn’t always suggest. It wasn’t
unreasonable to hope for something along those lines from Presley’s first
non-bedroom LP, but in comparison, To The Recently Found Innocent is fairly
subdued. It’s a record shot through with feelings of anxiety and anger
seemingly related to money, art, and other artists. Presley’s finally made a
step into the outside world, but it hasn’t made him particularly comfortable.


Download Links :