Joining – TY SEGALL-WHITE FENCE: Joy (Drag City, 2018)

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El segundo disco colaborativo entre TY SEGALL y WHITE FENCE es un disco escrito enteramente a medias, compartiendo grabación y composición. Algo más que un mero juguete encaminado a la diversión, puesto que también compartieron gira.
El disco, sin ser ni mucho menos la quintaesencia del Pop, sí que ofrece momentos memorables, preñados de Pop Psicodélico (nos recuerda horrores al Sell Out de The Who), NeoFolk y algo de Garaje. 
Lo cierto es que la pareja funciona, las instrumentaciones son tremendas, y aunque la mayor parte de las canciones parecen apuntes (de nuevo la comparación Sell Out vía Olivia Tremor Control), en su mayor parte funcionan como un reloj de precisión (Please don´t leave this town, Body behaviour, Good boy, Do your hair, My friend…)

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“The unbridled rock & roll force that is Ty Segall met up for the first time with the warbly psychedelic wanderings of White Fence on 2012’s Hair, a fine distillation of the pair’s strengths. Segall and White Fence‘s Tim Presley forged a sound that reined in Segall‘s sometimes excessive energy and gave life to White Fence‘s often precious music box renderings of ’60s excess. Since they made that record,Segall has gone on to expand his sound into something almost arena-friendly, while Presley has gotten weirder and more unpredictable with his solo work and other projects including DRiNKS withCate Le Bon. The duo’s reteaming on 2018’s Joy tilts the scale toward weirdness with many songs that are odd snippets of sound, lots of Presley‘s obtuse guitar lines and lyrics that sound like they were left out in the sun a little too long. For the most part, the record works like a charm, with the sometimes gleeful, sometime ominous White Fence psychedelic strangeness adding creepy tendrils that captureSegall‘s frenetic energy and drag the songs into unexpected places. The gothic vocal harmonies of “Body Behavior,” the squiggly guitar solos on the very John Entwistle-sounding “Good Boy,” the looping drums that buoy “A Nod” are little bits of left-field arrangement tricks show how well their styles can mesh. There are also times when Segall‘s innate swagger gives the songs an extra boost, like on the insistent rocker “Do Your Hair” or the sly folk-rock tune “My Friend” that ends the album on a high note. So far, so good, but alongside the songs that work like a well-baked cake, there are others where they seem to be sacrificing quality for weirdness, and that’s when the album flags a little. The overly quirky noise interludes are an energy suck and a couple songs don’t go anywhere, like the draggy, over-cooked “She Is Gold” where they indulge their most meandering tendencies, or the off-putting “Tommy’s Place,” which comes off like it was deep fried in whimsy. These less interesting, less well-formed moments leave the listener wondering if the album really needed to be 15 songs long. A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn’t quite reach the level the duo attained on Hair. It’s still worth checking out for fans of either artist, though, especially if their eccentric natures are the main attraction” (All Music)

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White Fence: Like that (Drag City, Single, 2014)

White Fence transmutados en The Who. No te pierdas este tremendo single de los Angelinos.

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White Fence: White Fence (2010)

White Fence es el proyecto de Tim Presley (Darker my Love, Strange Boys), quien se ha encargado de la grabación, producción y edición del disco que lleva el nombre de su “banda”. Porque seguimos a vueltas con esto del Bedroom-Pop, movimiento que hemos dado en llamar así por encontrarle algún nombre a este aluvión de álbumes grabados y producidos por una sola persona en, digamos, un estudio casero. Tim ha engendrado un disco en el que nos encontramos por igual trazos del mejor Psyco-Pop (Mr. Adams, Who feels right?, Destroy everything, The love between), que del Lo-Fi-Pop que tanto nos cautiva (I´ll follow you, Baxter corner, Box disease/Today bond), que piezas de Freak-Folk (Slaughter on Sunset Strip, The gallery, Ring around a square). Un disco que hubiera podido firmar el Beck de sus comienzos inspirados: el nivel de su freakismo es tan alto que por momentos puede llegar a dejarte aturdido y fuera de lugar (Tildas). No es una obra maestra, pero es un álbum digno de ser tenido en cuenta, ya que si este tipo de experimentación sonora cae en manos de Deerhunter, Atlas Sound o Animal Collective es recibida como el maná del cielo, ¿por qué no darle una oportunidad a Tim y su White Fence?

White Fence – White Fence (2010)

“San Francisco’s Make a Mess Records (Grass Widow, Brilliant Colors, Traditional Fools) is proud to unleash upon the masses the self-titled debut LP from LA psychpop auteur White Fence. Wander into the sweltering Cali smog to find yourself transported into a lysergic pop netherworld, where White Fence carves broad strokes of color into your mind. Coming on like Love in a Lollipop Shoppe, or Chris Knox abusing a Vox, the record oscillates between a sun-dappled English meadow, a crumbling SoCal suburban bedroom, and a riotous Sunset Strip leather gang knife fight, with the kind of warped precision and purity that marks the wolves from the sheep and the profound from the pretend in this instant online age. You know what I mean. Connoisseurs of the physical format will be richly rewarded with surgical-grade vinyl and a gorgeous fold-out insert” (insound.com)

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