The artists that tend to intrigue and hold our attention are rarely one dimensional. They build worlds. They create myths. Often they savvy the importance of both—for themselves as well as their audience. Tim Presley understands this. Having followed his work for more than a decade, through various permutations of his craft/muse, he continues to evolve via his paintings, his music, and his very presentation of the self.
2019 introduced the artist’s latest incarnation, appending his full name name to the existing cloak of White Fence. See: Tim Presley’s White Fence – I Have To Feed Larry’s Hawk. Aesthetically, it’s all Presley, yet the fingerprints of Drinks (his ongoing collaboration with Cate Le Bon) are evident. In contrast to the earlier White Fence output, the record feels woozier. Gauzier. The below is the album’s second track, “Phone”—a piano-driven lament that feels like an unearthed Peel session from the mid-70s, à la John Cale.