Archive for White Fence

White Fence’s “For The Recently Found Innocent” Is Tulip Frenzy’s Album of the Decade; Ty Segall Named Artist of the Decade

Posted in Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , on November 16, 2019 by johnbuckley100
White Fence For The Recently Found Innocent

That lowly scrum of slackers who moon about Tulip Frenzy’s Global HQ like the gangsters of the Bergin Hunt and Fish Club were hoping to avoid the debate over the decade’s best album. Things can go terribly wrong when you start such discussions.

Some of the gang’s resistance stems from their admittedly deep knowledge of rock’n’roll history, wherein choosing the best record from the decade not even past calls up Chou En Lai’s response to Henry Kissinger, who asked Chou’s opinion of the French Revolution: “Too early to say.” It was 1972.

Some of us are still squabbling over whether OK Computer or Ladies and Gentlemen We Are Floating In Space were the best albums of the ’90s. Moreover, with the hindsight of 40 years, can you really pick the ’70’s best album?

Much of the unwillingness to dig in, though, was due to the team’s needing Thanksgiving to get a quorum, set time for debate and invoke cloture. We need a deadline, the looming end o’ year — not to mention all the other glam sites we compete with putting out their lists — to force a determination of which record ranks supreme. Choosing from a ten-year span when we haven’t fully considered the options from the present one seemed, if not quite ass backwards, then at least as unaligned with Cause and Effect as Slothrop’s map of conquests was with the Poisson distribution of fallen V2 rockets.

But then along came Friend of the Site Allen Goldberg who taunted us, in like late October, with Paste or someone’s list of the decade’s finest. While it named many of the right bands (e.g. Thee Oh Sees) it consistently chose the wrong record (e.g. Castlemania). Which prompted a remarkably coherent and efficient response from the Tulip Frenzy editors.

Pool cues, far from being raised in anger, were gently rested on felt. The mid-afternoon guzzling momentarily fell silent. We all got together and, like, talked it out.

One editor suggested, “Let’s just figure out which albums from 2019, if any, should be considered, and throw them into the mix; it’s not like we have to do our whole annual Top 10 list before we can say which ones would make the decadal grade.”

To my surprise, from outta left field came this logical suggestion: since Tulip Frenzy has done an annual Top List each year since 2010, why not look at which records were included and jump-start deliberations by culling from the 90 chosen in each of nine one-year increments?

There was no getting out of it. We would chose the decade’s best… 20 sounds like a good number … albums.

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Before we reveal the list in full, a few words about the decade. 2010 to 2020 was a really great decade for real rock’n’roll.

And yes, we’re painfully aware that rock’n’roll is no longer the common language of our culture. “Popular music” these days contains precious little rock’n’roll (have you seen that horror show which is the Grammies?) If you wanted to be mean, you might even say that Tulip Frenzy — which used to believe it was dedicated to a highly refined subset of “pop music” — is today better defined as passionate supporters of unpopular music. Un-pop. Yep, that’s us.

So we get it. When we publish our list of the 20 best albums of the 2010s, we know it will bear little resemblance to the Best of the ’10s lists from other, less discerning sites. We know it’s quite possible that just as several of the rock critters, if we may even call them that, who put together the list for, say, Rolling Stone may not know any of the bands on our list, we may not know any of the bands on theirs. (Could someone please explain to me who Beyonce is?) Which of us should be more shamed by that development?

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Of the previous five decades in which rock music has been, if not the dominant musical art form, at least pop music’s organizing principle, two 10-year cohorts comprise an unassailable, uncontroversial collection of the Greatest Music of All Time — the ’60s and the ’70s. Yes, a Boomer point of view, but no less true because of it. I mean, these days Millenials play as much music by the Beatles as we do…

One decade — the ‘Aughts, 2000-2009 — barely registers as having a musical personality, but maybe we’re confusing things because we can never settle on what that decade should even be called. Between the rise of neo-psychedelica – bands like First Communion Afterparty, for example — and the incredible Power Pop of The New Pornographers, it was a decade with tasty output. But at this point, Chou En Lai was right: it’s too early to tell whether the ‘Aughts can be seen as a decade of distinction.

The ’90s were, surprisingly, as great as the ’60s and the ’70s. Fully two-thirds of the music I listen to today was either made in or sprang from the ’90s. So many artists were either in their early glory — Brian Jonestown Massacre, Dandy Warhols, Luna — or in peak form, cf. Bob Dylan, Fugazi, R.E.M., Nirvana, Spiritualized, Radiohead, Pearl Jam, Whiskeytown, P.J. Harvey, Blur, Oasis, Jesus and Mary Chain, the Mekons, Matthew Sweet, Prince, Iggy Pop, Tom Petty, and I could go on. One could happily go to a Desert Isle with a ’90s-programmed juke box and foreswear all rescuing.

At the same time I know we can all agree that the ’80s sucked. Some of it was technical — the simultaneous advent of the CD and the adoption of synthesizers everywhere led to precious few albums that are today even listenable. Even in a decade in which R.E.M., U2 and the Pixies ruled the roost, so few albums sound good, it’s hard to spend time there. But the problems were more than technical, more than just the brittle transition from analog vinyl to digital CDs.

The ’80s reflected the tide going out to sea, taking the Clash and Gang of Four and Joy Division and Wire — all the great late ’70s bands — with it. Even though stalwarts like Lou Reed, the Replacements, Prince, Robyn Hitchcock, Galaxie 500, Sonic Youth, and early on, Bowie and the Stones all produced memorable ’80s albums, as decades go, it was a loser.

So where does all this leave us ranking the 2010s? Honestly, pretty high. Maybe not quite up there with ’90s, but ahead of the ’80s for sure, and about a furlong in front of its preceding ‘Aughts.

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The decade that began on New Year’s Day 2010 was driven by a handful of musicians about whom only a small portion of the world has ever heard. You and I — yes, you Bub — we all listen to Ty Segall, Thee Oh Sees, Tim Presley/White Fence, and Kelley Stoltz. To us, this cast of characters was as influential in making the 2010s a great musical decade as Mick Jagger, John Lennon, Paul McCartney, Bob Dylan, Jimi Hendrix and Sly Stone were in making the ’60s great. They played a role as important as what Brian Eno, Patti Smith, David Bowie, Joe Strummer, Tom Verlaine, Lou Reed, and David Byrne did in the ’70s. And none of them ever has or — gotta admit it — likely will ever headline at Wembley Stadium or even Coachella.

But rock’n’roll in the ’10s was amazing, and if you want to give credit where it’s due, let’s just go ahead and name Ty Segall Artist of the Decade. I count 13 solo albums, two albums with the Ty Segall Band, one with Mikal Cronin, two with White Fence (Tim Presley), and I can’t even keep up with Fuzz, Gøggs, and all the other offshoots.

Even if we were scoring him based only on his own output, I’d put Ty ahead of his only two competitors — John Dwyer of Thee Oh Sees and Kelley Stoltz. But Ty’s impact can be felt on the generosity behind his producing first albums by Wand, Feels and Shannon Lay. And there are more I just can’t remember. For those of us in the rec room at Tulip Frenzy, it was an easy decision. We think the greatest music of a pretty great decade somehow ties back, if you’ll pardon the expression, to Ty Segall.

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With no further blathering here’s the list, in typical Casey Kasem reverse order:

The 20 Best Albums of the 2010s were:

20. Calexico Algiers (2012)

19. The Vaselines Sex With An Ex (2010)

18. Wire Change Becomes Us (2013)

17. Alejandro Escovedo Burn Something Beautiful (2016)

16. Parquet Courts. Sunbathing Animal (2014)

15. The New Pornographers Together (2010)

14. The Brian Jonestown Massacre Mini Album Thingy Wingy (2015)

13. Capsula In The Land of the Silver Sun (2011)

12. Robyn Hitchcock Robyn Hitchcock (2017)

11. Kelley Stoltz My Regime (2019)

10. Wand Laughing Matter (2019)

9. Ty Segall Freedom’s Goblin (2018)

8. PJ Harvey Let England Shake (2011)

7. Amen Dunes Love (2014)

6. Courtney Barnett The Double EP: A Sea of Split Peas (2014)

5. Radiohead A Moon Shaped Pool (2016)

4. First Communion Afterparty Earth – Heat – Sound (2013)

3. Woods Bend Beyond (2012)

2. Thee Oh Sees Floating Coffin (2013)

1. White Fence For The Recently Found Innocent (2014)

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I probably should just leave you here, preferably with a budget to go buy these as vinyl albums so you can sit in your rec room discovering them in your own way. But let me help you out just a bit.

There was amazing consensus among the editors that the White Fence album — Tim Presley’s brilliant tour through British Invasion and ’60s psychedelica, with only Ty Segall, natch, accompanying him (on drums) — was the odds on best record of the decade. Of all the records here, this is the one that, we are confident, will hold up longer than the French Revolution.

One could have named any number of albums by John Dwyer as high on this list, whether put out under the moniker of Thee Oh Sees, Oh Sees, OCS, or whatevs. But Floating Coffin was his best album of an amazing decade. Here’s a band that started out as a folky duo, soon became the funnest punk band in the land, and these days sounds like Miles Davis leading Hawkwind. Floating Coffin is the very best of their mid-period punk’n’melodic chaos.

Woods has taken a step back of late, but they released four amazing albums in a row and Bend Beyond is the best, earthy, tuneful Upstate music recorded in Brooklyn, or was it the other way around? Note: this was the last album in which Kevin Morby played bass. Yes, Kevin Morby.

We never thought we’d hear a third First Communion Afterparty album, but this most exciting psychedelic band of the ‘Aughts managed to have a record released from the grave. By the time EarthHeat – Sound came out in 2013, ace Minneapolis bandleader Liam Watkins was on to his next ‘un, Driftwood Pyre, whose one and only album so far was amazing. But this one was really special. I happen to think First Communion Afterparty was the most amazing left-field entrant of the Century To Date — go find this album. Like, today.

Radiohead’s second album of the decade was… Radiohead’s best album of the decade. ‘Nuff said.

We know that people have gone nuts over Courtney Barnett’s first “proper” album, but really, it was the suturing together of her two E.P.s into A Sea of Split Peas that introduced her to me in 2014, a year before anyone Stateside was grokking on her, and it’s still her best work.

When we heard Amen Dunes in 2014, we could hardly believe how great and weird they are, or more accurately, he is. Damon McMahon’s reach for prime time with 2018’s Freedom was wonderful, but Love, its predecessor, is a desert island album. It is so weird! Even as it’s straightforward freak folk marrying, say, Devendra Banhart with Brian Eno. Love this rec!

PJ Harvey‘s Let England Shake was a work of power and delicacy, a vibrantly intelligent work, and we love it. The year it came out, we gave the Tulip Frenzy Top 10 honors to Radiohead’s King of Limbs. That’s a great album, but we should have given the honors to Harvey’s memorable invocation of — of all things — World War I.

Ty Segall put out a LOT OF MUSIC in the 2010s. Freedom’s Goblin, a double album with his touring band, including especially Mikal Cronin, is worthy of the great double albums from days of yore. It is his Electric Ladyland or Quadrophenia. A major work by a major artist, the Tulip Frenzy Artist o’ da Decade. It is also, if you’ve yet to discover him, a great entry point as it has it all — punk rock, No Wave skronk, Beatles-esque folk, even a fun detour into “The Loner”-era Neil Young. Did we mention it begins with an homage to his dog?

We can’t tell you whether Wand or Kelley Stoltz will be accorded the soon-to-be-announced 2019 Tulip Frenzy Album o’ The Year. So we clustered them together. Wand is now the most impressive band playing on the planet. With comparisons to Radiohead, you know that Wand’s making great music. Laughing Matter is brilliant.

Not to be outdone, Kelley Stoltz put out the single best album of his amazingly consistent, astonishingly creative career — and My Regime shows how far he has grown from his earlier work, about half of which could have been included on this list of the decade’s best.

The redoubtable Robyn Hitchcock must have known he was putting out his single greatest album of a long and stellar career — a journey in which he has, and I’m serious, written more good songs than anyone but Bob Dylan — because this was the only album in which his name suffices for the title.

Argentine-spawned, Bilbao-housed punk rock magicians Capsula have released a lot of good music since 2005 — this was the best of a good lot. It is a delight to hear a trio play with such abandon — and never give up the hooks or melody.

While the decade’s output by Anton Newcombe can best be found sprinkled across singles, E.P.s, and albums, we chose the 34-minute long Mini Album Thingy Wingy to represent the Brian Jonestown Massacre because, yeah, it was his/their best album.

Five more to go? Sheesh. Okay, the New Pornographers released four great albums in the decade and, yup, this’n’s the best. Hard to choose the best Parquet Courts album — a band so good that now young tyros like Bodega are walking in their shoes — but we think we have. Alejandro Escovedo can still crush it, and with Peter Buck and Scott McCaughey, he did. Wire may be from the ’70s, but when I saw them a couple of years ago, all the younger musicians in the audience were grinning, and this record takes songs actually written in 1979 (and released then as a bad, messy album) and properly records them in a 2013 studio. Kurt Cobain-faves The Vaselines walked out of Glaswegian history to record two wonderful 2010s albums, but I chose Sex With An Ex because of the sheer thrill it gave me to have them return. Finally, Calexico has given all of us at Tulip Frenzy World HQ much joy when we’ve seen them live, but this is the album of theirs that we play in full.

Stay tuned for the upcoming Tulip Frenzy 10 Best Albums of 2019 list, circa Thanksgiving. Once we’ve recovered from writing this…

Almost At The Year’s Midpoint, Wand’s “Laughing Matter” Is The Best Album of 2019

Posted in Uncategorized with tags , , , , , , , , on May 20, 2019 by johnbuckley100

We’ve waited a month to review Laughing Matter, because we wanted to be certain. In that first rush when a great album suffuses synapses with the promise of a wild evening ahead — before the huge bats screech and swoop around the car, before you realize it’s been a week since you listened to anything else — it can be easy to proclaim that such-and-such is the best thing since The Beatles. A month in, though, and it’s clear Laughing Matter holds the high ground. It’s going to take the second coming of The White Album for any other band to produce a better one this year.

Wand has come a long way in a short time. The burst of activity that produced Golem and Ganglion Reef back to back between August 2014 and March 2015 might have led you to think singer/guitarist/songwriter Cory Hanson and epic drummer Evan Burroughs were on the metal end of mentor Ty Segall’s furious seesaw. But then came Catholic twin 1000 Days, a third album released just 395 days after the first album, and it was already a far more sophisticated outing every way.

Wand at the Black Cat in 2015

None of this prepared us for Plum, Tulip Frenzy’s 2017 (Co-) Album o’ The Year, when an expanded band could now produce rock’s only known song about the retirement of Charles De Gaulle. One had to grok on the leap Wand had taken to become, as we noted then, peers with Ty, Thee Oh Sees’ John Dwyer, and White Fence’s Tim Presley as not only the West Coast’s most fearsome progenitors of ace albums, but among the finest live bands in the world. It was, and is, a stunning album, and 18 months in, we listen to it all the time.

Wand at DC 9 in 2017

Last year, we had to determine whether Perfume, the abbreviated follow-up to Plum, was long enough to qualify for the same track as all the pretty horses in contention for the 2018 Tulip Frenzy Album o’ The Year honors.

Here’s how we described the deliberations: “Some of our editors held out the verdict that, at just under 30 minutes, Wand’s Perfume was more like an E.P.  At least not like a proper album, especially since last year’s Plum was clearly deserving of its (Co-) Album of the Year status.  But then we sat down the recalcitrant judges and played them the beautiful “I Will Keep You Up” and they began to weaken, one of the holdouts even willing to say, “That’s the most sublime song Cory Hansen has ever written and Wand’s ever released.” It was when we all listened together to the Tom Verlaine-like guitar perfection of “The Gift” that towels were thrown in and it was clear: Wand’s Perfume is a real album, and the 5th best of 2018.”

Wand’s Laughing Matter is the strongest album of A.D. 2019 to date. It has the heft of a double album, as if making up for Perfume‘s deficiencies, length-wise. It also contains two of the most gorgeous songs I’ve ever heard, the back-to-back showstoppers of “Rio Grande” and “Airplane.”

At first I didn’t understand all the Radiohead comparisons rock critters were throwing at ’em, because to me Laughing Matter just sounded like the inevitable next step after Plum and Perfume. I mean, Wand’s growth since 2014 rivals, I dunno, The Beatles between 1963 and 1968, but somehow I missed framing them within Radiohead’s geometry. The last two albums already showed Cory Hanson playing guitar in the same league as Tom Verlaine and Nels Cline, and the yin/yang between their minimalism and maximalism is one of the most unique experiences in rock.

But after a while I began to get it — Cory’s voice, while not as pretty as Thom Yorke’s, has some of the same delicacy and range, and they are now operating on a sonic scale comparable only to bands with the ambition of Radiohead and Wilco. Yes, arena bands, considered the finest of their era. And the last time we saw Wand play, it was at DC9 with its sub-200 capacity. (This is the tragedy of modern music, and don’t get us started.)

Sofia Arreguin’s voice is genuinely welcome addition, and the interstitial electronica that punctuates the album sounds like old school Cluster/Harmonia, which you must know makes me happy. We don’t often invoke Pitchfork’s writers, but Brian Howe got off a good ‘un in his stellar review a month ago when he allowed as how, on the album opener “Scarecrow,” “it sounds like Evan Burrows is playing his drums with dinosaur bones.” Yeah, from its opening notes the album packs a wallop, and one song in, on “Xoxo,” we are mesmerized.

The expanded band — two guitars, bass, drums and keyboards — plays brilliantly, flawlessly on this magical album with its poignant invocation of travel and love and traveling with and without one’s love. While wholly original, yes, we understand how Wand has absorbed lessons from both Radiohead and My Bloody Valentine. Which if you think of this last sentence, is like saying a writer has absorbed lessons from, say, James Joyce and Thomas Pynchon — I mean if you are going to be in any way derivative, aim high.

Wand shoots the moon with Laughing Matter, and it ain’t funny. It took me a month to be sure. This is the single best album since at least White Fence’s For The Recently Found Innocent, only the best album released in 2014, the year Wand came on the scene as a recording group. We don’t know what the rest of 2019 is holding back from us, nor the years ahead. All we know is that Wand is in the front ranks of our era’s greatest bands, and in Laughing Matter they have released a masterpiece. Again.

Coming To Terms With Tim Presley of White Fence

Posted in Uncategorized with tags , , , , on March 2, 2019 by johnbuckley100

Let’s start this here. The most interesting modern music since 2010 has been created by three Californian men, John Dwyer of Thee Oh Sees, Ty Segall of 1000 bands, and Tim Presley, mostly of White Fence. Of the three, Presley is — to me — the most enigmatic, the most frustrating, and in many ways, the greatest genius. We come here not to bury Presley, but to praise him.

It’s not a competition, really. In his various incarnations around Thee Oh Sees, Oh Sees, OCS, etc., Dwyer has produced a world of music that is never uninteresting. Ty Segall has made the classic rock’n’roll of our time, his impressive work ethic and protean abilities dazzling us with his growth into a towering industry unto himself. Both Dwyer — by recording 2013’s White Fence: Live in San Francisco — and Segall — by teaming up with Presley for two albums, Ty Segall and White Fence’s 2012 Hair and last year’s Joy, not to mention going into the studio with him and playing drums on the 2014 White Fence masterpiece, For The Recently Found Innocent — have helped their genius pal record the work that, were a comet to hit Los Angeles tomorrow, he’d be remembered by for all eternity.

Presley is the Bode Miller of rock’n’roll, often frustrating because he doesn’t live up to the potential others define for him — okay, me — but when he’s on, he gets gold medals, he is astounding. As with Bode, you get the feeling that Presley doesn’t really give a shit. Several of the albums he’s recorded under the name White Fence consist of tapes made in his room and released into the world in underwhelming lo-fi. Yet on Live in San Francisco, backed by an ace band, at the 2015 Levitation festival in the mud outside Austin where we first saw him, and — we’re getting there — last Monday night in Baltimore — its clear that Presley’s all in, that he can take those slight songs recorded in his bedroom and owing to his genius as guitarist, songwriter and performer, transform them into intoxicatingly weird punk rock grit. He knows what he’s got, he’s casually confident even if somewhat reticent. His talent is not something he wants to just throw away.

If so, though, then why are the two albums he recorded with Cate LeBon under the name Drinks so unsatisfying? Why is the most recent White Fence album — released by “Tim Presley & White Fence” as I Have To Feed Larry’s Hawk — ultimately reduced to a few great songs, two fascinating electronic music experiments, and some noodling you won’t listen to twice? Why the inconsistency? Does he have equally strong convictions about each of his incarnations?

We don’t know. But we know this. Monday night with Ty Segall at Ottobar in Baltimore, the two played glorious psychedelic punk rock. It was occasionally sloppy, a mess. And it was often transcendent. It became evident that in a strange parallel to the role Nick Lowe played with Dave Edmunds when they toured as Rockpile, Segall — the far bigger name, the person who’s cracked at least satellite radio — was there to actualize Presley. Like yeast making bread rise, Segall did his thing, which was to let the 300 thrashing bodies in a little firetrap with un-ironic signs forbidding crowd surfing appreciate the genius that is Tim Presley.

We’ve given up worrying about Tim Presley. We’re taking the long view. His 2010 album with Darker My Love, Alive As You Are, was Tulip Frenzy’s Album O’ The Year, as was White Fence’s For The Recently Found Innocent four years later. The White Fence live album ranks for us up there with Get Yer Ya-Yas Out and Live At Leeds as the best concert recordings ever. Seeing him with Ty this past week made me realize that about 25 minutes of their two albums together is pure and unadulterated bliss, among the best work either has ever made. Among the best music of the past decade.

We’re willing to sit through lo-fi albums made in Presley’s bedroom, underwhelming combos, slight solo albums and the like to get to the good stuff. You see, Tim Presley’s good stuff is for the ages.

On “Orc,” Thee Oh Sees’ 19th Album, John Dwyer Makes A Statement

Posted in Music with tags , , , , , , on August 30, 2017 by johnbuckley100

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Orc is, if you can believe it, Thee Oh Sees’ 19th album.  Though it’s their first album under the name “Oh Sees.”  Whatever this is, however you count it or categorize it, John Dwyer has by now built such a confounding, amazing, gorgeous, pulverizing body of work there should be a monument to him just outside the Temple of Real Rock’n’Roll.

Less than four years ago Santa put a lumpa coal in our Christmas stocking with the news that Thee Oh Sees were breaking up.  It was particularly disheartening because the gang at Tulip Frenzy had just voted Floating Coffin the #2 album on that year’s Top Ten List (c). Lo those many years ago, we wrote, “You have no idea what Thee Oh Sees are going to come out with next!  A No Wave rock opera.  Speed-metal yodeling.  Eddy Cochran backed by zithers. We are completely serious: this is a band that through sheer dint of trying proves every mother’s maxim that if only little Johnny puts his mind to it, he can do anything.  If little Johnny is John Dwyer, the answer is yes, yes he can.  And you would be well advised to catch up.”  Have to say it, that was good advice then, and now.

If John Dwyer had thrown in the towel then, he would have assumed his rightful place in history; that here we are, four years and five albums later, and his replacement unit from the Oh Sees classic of the early part of this decade has now fused into nothing less than a machine and you can see why we are so thrilled that Orc has joined the party.

PsychfestOhsees2

Here’s all you need to really know, if you are not someone whose large ganglia have twitched to Dwyer’s yips and the propulsive drumming of his 100-horsepower twin tyros lashed to the back of his guitar work.  The big question about punk rock was always what it would turn into when the primitives learned to play.  You know, not every band could be the Clash and by Sandinista be playing Mose Allison covers and pushing at the forefront of what was then called rap.  But at least three recs ago, Dwyer showed he could play guitar like Jimi Hendrix.  That he could compose complex rock songs with a power and beauty that rivaled anyone who’s ever admitted to participating in the genre.  That he seriously could, on the same album, mix punk, prog rock, garage, psychedelia, and pop.

Last year, on the matched pair albums of An Odd Entrances and A Weird Exits we really could see adding jazz and Krautrock to that list. He is the magpie’s magpie, but that implies a lack of originality and in fact he’s the opposite.  A guy who as recently as 2011 was playing punk rock at high speeds is now capable of anything.  Here’s an example: on Orc‘s “Keys To The Castle,” we start out on a light jog, John Dwyer singing harmony with (we hope) once + future Oh Sees singer Brigid Dawson, and ‘fore ya know it we’re traversing a steeper pitch with some classic punk chords as the song intensifies.  And there there is a pause… and we come back at slow mo’ speed with cello and organ and synth, in a lovely electric piano chordal half-walk, the sounds of space wrapping your face, and for the next four minutes, you are in a dream.

We’d say he does that on every song, but in fact, “Keys To The Castle” is both a standout and also, if you’ve been paying attention, just exactly what we’ve come to expect from the impossible-to-pin-down Mr. Dwyer and his morphing set of musicians and band names.

For the past six or seven years, we have lived in a Golden Age of Rock’n’Roll due to the presence of John Dwyer, Ty Segall, and White Fence’s Tim Presley.  If the advance word on Wand’s new rec is right, add Cory Hanson to the list of West Coast genies making life worth living.  John Dwyer’s band(s) have pushed forward a 60+-year old genre in part by reconciling all its best pieces.  On Orc, he makes a statement.

And did we mention that just yesterday came word that Thee Oh Sees’ 20th album will be released in… November.  It is said to be coming out under the band’s original name, OCS, and will be “pretty, pastoral, folky, with string arrangements by Heather Locke and brass arrangements by Mikal Cronin.”  We cannot fucking wait.

On “The Wink,” White Fence’s Tim Presley Proves A One-Man Band Can Still Have A Solo Album

Posted in Uncategorized with tags , , on October 16, 2016 by johnbuckley100

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Tim Presley is an artist of such power, he has twice created work garnering Tulip Frenzy’s Album Of The Year honors.  Leading Darker My Love, a genuine band with, you know, multiple musicians recording songs, um, together, his Alive As You Are was a country rock gem, as meticulously crafted as an Hermes stirrup.  In 2014, For The Recently Found Innocent not only was the best album Presley’s “band” White Fence ever produced, but we’re pretty certain that when Tulip Frenzy looks back, in 2020, on the current decade, our team o’ plucky editors will have an easy time accepting its bid as the best rec since the Aughts.  All of which might lead a casual reader to believe that things are straightforward here — that Presley is a consistently great and major artist, a commodity as predictable as the Beatles in their prime.

That this isn’t the case is both a source of frustration and begins to get at the ritualistic magic of The Wink, Presley’s solo album, which came out one month ago.  The Wink is an astonishingly great album, the product of an eccentric genius with an oddball sensibility and a reverence for the artists he admires.  The title track sounds like it was ripped from a master tape of Bowie’s The Lodger — an homage to a dead hero in which Presley took the time to reverse engineer the best songs from Bowie’s best album.  A dozen bands before now have tried capturing the spare perfection of the first Gang of Four album, but on “Clue,” Presley’s the first artist I know of who has ever truly caught the interplay between Jon King’s vocals and Andy Gill’s guitar.

But of course, the major artist that Presley channels best on his solo album is Tim Presley, for we hear throughout the 12 songs here chord progressions and melodies spanning his career, from sideman in The Fall to collaborator with Ty Segall, not to mention leader of Darker My Love, White Fence, and Drinks, his 2015 album with Cate Le Bon.

For fans of White Fence, what is immediately apparent here is that The Wink is a great sounding album — that compared to those pre-2013 albums seemingly recorded in his bedroom, this one is a studio product with, dare we say it, high fidelity.  That it’s still recorded by a one-man band, or close to it (a few guests may have sat in, here and there), means it has the angular limitations of uneven musicianship; he might sound like Gang of Four, but the bass and drums don’t really have a bottom.  Performing as White Fence, it took the miraculous Live In San Francisco, recorded in 2013 with a killer backup band, to reveal to the world just how amazing were songs like “Swagger Vets and Double Moon,” which if you heard it only on Family Perfume, Parts 1 and 2, sounded like low-fi psychedelicacy, not the fully actualized, punk-steeped gem it became with a real band.  For The Recently Found Innocent, Ty Segall stepped in offering a kick on the bass drum and, we’d suggest, Presley’s ass, getting him to step up the sonic power of his noodling and produce a real album you could listen to on a real stereo, not a home recording you needed headphones and a lot of patience to enjoy.

The Wink is a real album, and it is great.  We can’t wait to hear it performed live, with a real band.  That it still doesn’t combine high fidelity with an in-studio band doesn’t mean we’re complaining.  Tim Presley continues to defy the world, taking leave from a one-man band and putting out a solo album.

 

Years Later, Will Thousands Claim They Were At Wand’s Show At The Black Cat?

Posted in Uncategorized with tags , , , , , , , on November 16, 2015 by johnbuckley100

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About three times as many people claim they were at Nirvana’s winter ’91 show at the old 930 Club as could possibly have fit in that skanky room.  Last night, not too many of us were privileged to have been in the backroom of the Black Cat to see Wand, a band that thunders every bit as much as their precursors, while sharing their genius for melody and that genre-busting tightrope walk between metal and pop.  The 70-minute show was at times transcendent.

A year is a long time in pop music, but was it really just last fall that we saw Wand open for Ty Segall, leading us to discover their remarkably accomplished debut, Ganglion Reef?  Since then — all in calendar year 2015 — the band has released two new albums, each better than the last one, a progression of talent that shows great things to come.

The band is now a foursome, so that Cory Hanson has extra help on keyboards and guitar.  As the singer and principal guitarist, the clean-cut Hanson cuts a fascinating figure.  It’s fully to be expected to find him on a stage, but he looks less like someone who can ply the line between noise-rock and Power Pop than someone you’d see on a tech conference panel being grilled by Kara Swisher on why his start-up’s billion-dollar valuation is justified. Wand plays pretty melodies that stick in your head and then, on a dime, they pivot to chest-jarring fuzz-metal.  As the bandleader, Hanson seems as if at any moment he could turn and walk through a different door, and you’d find yourself listening to music in a completely different tempo, volume, and level of intensity.

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But no take on Wand is complete without mentioning that Evan Burrows is a one-man nuclear power plant piston-pounding the drums. If drummers had world rankings like tennis players do, Burrows would be that phenom that went from number 128 to the Top 5 in a single season.  This is evident on the records, manifest live.

We have already stated our dilemma in determining which of Wand’s 2015 records will make Tulip Frenzy’s 2015 Top 10 List.  And honestly, we wish we could call 1000 Days and Golem a double album and be done with it.  But something else came to mind last night when watching this intimate show in which Wand just detonated on stage.  Hanson reportedly was Mikal Cronin’s roommate in LA, and Ty Segall has taken the younger tyro under his ample wing.  In the summer of 2014, Tulip Frenzy declared that we live in a Golden Age of Rock’n’Roll due to the output and sensibilities of Ty, Thee Oh Sees’ John Dwyer, and White Fence’s Tim Presley, and last’s night show by Wand simply confirmed the thesis.  But what also was clear that any listing of West Coast bands and figures leading us to this Periclean age has to include Wand and Cory Hanson.  Those of us who were privileged to be at the Black Cat last night know this.  And we fully expect that a decade from now, hundreds of DC hipsters will claim they were there too, and have known this all the while.

For Us, White Fence And Thee Oh Sees Were The Highlights Of Levitation: Austin Psych Fest 2015

Posted in Uncategorized with tags , , , , , on May 11, 2015 by johnbuckley100

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John Dwyer of Thee Oh Sees

It had rained so much earlier in the week (and earlier in the day) that the organizers of Levitation — this year’s version of the Austin Psych Fest — had to change stage locations.  The desire was to have no band float off into the river as the stage they played on was swept away, though that sure would have been cool to witness. But even though they provided a helpful pocket map, with set times on the three stages, the reality of the layout did not conform to what was on the map, and thus we were more than a little disoriented Friday evening.  And of course, the quicksand texture of the ever-present mud made getting from one stage to the next an adventure.

Going to an event like Levitation, with headliners including The Jesus and Mary Chain, Tame Impala, Spiritualized, the Flaming Lips, Primal Scream, and the reunion of the 13th Floor Elevators, you have to pick and choose who you really want to see, which is a function both of desire and stamina.  For us, the priorities were to see Thee Oh Sees, White Fence, and the Black Ryder — three fave bands from the West Coast who non-NYC East Coasters are deprived of.  It really was these bands that we flew to Austin to see, as among the headliners, we’ve seen The Jesus and Mary Chain many times over the years, and Spiritualized on their last tour.  Much as we would have loved to have seen Roky Erikson play to a hometown crowd, the 13th Floor Elevators reunion was late Sunday evening, and in order to be at work this morning, banging out this Tulip Frenzy update, we needed to be on a return flight well before he beamed down on stage.  So we picked and we chose and the best of what we saw is contained herein.

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Holy Wave

We loved Holy Wave, who played early Friday evening on the stage they’d moved up from rivers edge.  2014’s Relax was a garage band highlight, and their evocation of the Velvets meet Spaceman 3 seemed a perfect way to get into the Levitation spirit.  On a beautiful evening, with the rain gone but not forgotten, we stood by a suppurating mud hole and saw these Austinites (transplanted from El Paso), ring true to a Texas-state tradition that includes ? and the Mysterians, not to mention the Sir Douglas Quintet.  Fun set by a great band whose new work, previewed here, seems both poppier and tighter than what was on Relax.  Great things await these guys.

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White Fence

Longtime readers will remember that Tim Presley in his many guises — Darker My Love frontman, co-conspirator with Ty Segall, genius leader of White Fence — is accorded worshipful respect at Tulip Frenzy World HQ.  White Fence’s Live In San Francisco was on 2013’s Top Ten List, and of course, For The Recently Found Innocent was our Album of the Year last year.  So to say we were looking forward to White Fence’s set is an understatement, and we are happy to announce they did not disappoint.  No, if anything, they exceeded our sky high expectations.

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White Fence

From the opening strains of “Paranoid Bait” to the Ian Rubbish-perfection of the closer “Harness”, the White Fence set was scorching, with the guitars chiming perfectly, the drummer damn near pounding this stage back into the river.  If you believe, as we do, that the Holy Troika of Ty Segall, John Dwyer, and Tim Presley have saved rock’n’roll in the same way, beginning in ’76, that punk saved it, then you will understand we are not exaggerating in our verdict that the elusive Presley and his incredible live outfit are the most interesting act in contemporary music.  This is not easy music to perform — there’s a Magic Band complexity to the hairpin turns and manic galloping of songs like “Wolf Gets Red Faced” and “Paranoid Bait,” and in context, the motorik “Baxters Corner” was a psychedelic anthem. Presley is emerging as a towering American musical figure of Alex Chilton-esque importance, and the set White Fence played Friday night alone was worth the airfare.  It also made us replay in the hours since the 2013 live album, and yeah, it’s on a par with Live At Leeds, it really is.  Our fervent prayer is that Presley sustains the focus that brought us that live album and last year’s opus, and does not go back to noodling in his room.  If we had our druthers, he would take this band into the studio and lock the door.  We’d slide cheeseburgers under the door and eagerly await the output.

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Thee Oh Sees

Our second favorite set of the festival was Thee Oh Sees on Saturday night.  We fought our way forward through the large crowd of the Reverberation headliners’ stage, and man, were we rewarded.  The double-drum set up of the new construct was potent, though it must be said that an aspect of melodic subtlety has been dropped in the transition from the San Francisco to LA lineup of Dwyer’s outfit.  On songs like “Web,” which they performed gloriously, it appears that when Mutilator Defeated At Last is released in a few weeks, some of what we loved so much about 2013’s Floating Coffin — the ability to both startle the senses and tickle the frontal lobes, all at the same time — will have given way to brute force thundering punk.  But that’s high praise in many a home, not least ours, and we were thrilled by the generous set Dwyer and co. played.

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The Black Ryder

So we were a little disappointed by the Spiritualized set Friday evening.  But while, as we will explain, it’s not entirely fair to judge The Black Ryder based on their Saturday performance, we think maybe it’s time to offer a heart-to-heart, avuncular download of advice to one of our very favorite bands.  The problem of unfairness they faced was that they were squeezed into the smaller stage inside the tent next to where Thee Oh Sees would perform thirty minutes after their set began.  It was inevitable that the crowd — us included — would drift away to see the bigger band on the bigger stage.

But the additional problem is that the three songs they began with from 2015’s The Door Behind The Door are all slow, and while beautiful, 20+ minutes of music at that tempo was not what a festival crowd wanted to hear.  The moment they began playing music from their earlier masterpiece, 2010’s Buy The Ticket, Take The Ride, things improved, for these are far more uptempo songs. The early segment from the new album happen to be the best things on the disk, and if this is an indication of where The Black Ryder are headed, we get it, we accept it.  But we have to say we were a bit disappointed with the set, and yeah, on balance, with the new album, in part because we miss the Bloody Valentines meets Morning After Girls ecstasy of the first one, in part because the new music is a tad precious.  Growing pains suffered by a great band, who at Levitation were dealt a cruel hand.  Given they were inevitably going to lose a portion of the audience to Thee Oh Sees, we wish they’d paced their first 35 minutes a bit differently.  And we look forward to seeing them play a full set, at the pacing they choose, anytime they can return, we hope as headliners, to a longer East Coast tour.

All pictures taken with the Leica C.

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