White Fence - I Have to Feed Larry's Hawk (2019)

A new morning is shining through the gauze outside the window - an eternal morning, a next-day-of-life moment that's always occurring, if you take the time to notice. Tim Presley's White Fence, informed by the extreme polarities of punk rock and psych, brings forth songs like no others. Two years on from his solo missive, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. Vulnerability is painted with Tim's unpredictable brush, letting down his hair in counter-intuitive steps, while intimating that any path taken, whether one of transformation or one of succumbing, may meet an ambiguous outcome. With I Have to Feed Larry's Hawk, Tim Presley meets White Fence, and together, they move on. I quit the Temptations in Los Angeles, and got an apartment in San Francisco. I now live on a street surrounded with blurry characters & walking human clouds of static. The ground on my street is glass, nails, needles and pins/piss. There are beautiful flowers though. The sound of buses, cars and voices iron my brain to a nice hum. This city, is now a bull constantly poached by the bullfighter. The Torero keeps chipping. It's alright for me… now...despite this. I can actually feel this city, and what it has said to so many others. As a human, and as a ghost. (In Tandem) I started writing songs for this album in a small rural town in the UK called Staveley. I was staying with Cate Le Bon there during winter. While she was there going to school learning how to build & design furniture out of wood, I started writing on her piano. Staveley is in the Lake District (Northern England) and everywhere you look is the most beautiful serene British landscapes. Your eyes go quiet. I came back to SF to record, but first I had a fervent dream that Johnny Thunders asked me to be honest & simple with this album, and why dolphins were not given arms. I booked studio time with a very talented fellow named Jeremy Harris and we worked together out of a studio in the Dogpatch district of SF (owned and run by Paul from the UK band The Bees (or in US....A Band of Bees). Because I can only play the piano like a 5-year-old, Jeremy was able to learn the songs on piano, keys and finesse the parts, including most drums and also record/engineer the whole album. Also playing on the album, is S.F. Mission district native Dylan Hadley who plays drum on two songs: "Until You Walk" & "Forever Chained" and H. Hawkline adding guitar and vocals on "Phone."