On the cover, a bare chest and bits of bodies sketched in jagged lines of black and white. Inside, in full calor, we find Tim Presley. The dark force behind White Fence steps into the solo light with The WiNK.
Tim's a man in a glass booth, grabbing at scraps of paper blown at his windscreen as if they were of the greatest value. They're actually of the ONLY value. The Presley guitar hand has a powerful, yet quicksilver touch, with metallic brilliance ALWAYS, esp. in rhythm figurations, where it wrings chords out like panic signals, highlighted on
"Clue" where a smooth and steadfast lyric melody is supplanted by a throw of broken guitar and shards of keys and drum beats. The tension is unbreakable, a thin plastic slip, as he intones upon a maze of high wild mercury stings.
The WiNK is produced by Cate Le Bon, who does the impregnable work of bringing a Tim Presley solo statement into focus somehow from without, by leading Tim the long away around to make a portrait of him. Cate fully embodied the producer role, picking the songs for the album from a deep pile of demos, making arrangements for the chosen songs and steadfastly suggesting that the trusted team go off the beaten path in their execution. Alert to the scribble from which Tim's songs emerge in best home-recorded intimacy, Cate's studio production teases such details out without losing any of the cerebral splatter - deconstructing and rebuilding the songs with a tight-knit crew (comprised of drummer Stella Mogzawa, and engineer Samur Khouja) whose shared language lifts Tim's sound from the deep blue to create a different, stranger, authentic result.
The pop pusher of this teenage century is ready to slip behind the (White) Fence to claim his own name; be there when he does on September 16th!
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