Wednesday, 7 September 2016
New TIM PRESLEY London show announced!
Upset The Rhythm presents…
Saturday 19 November
The Lexington, 96-98 Pentonville Rd, Angel, N1 9JB
7.30pm | £10 | http://www.wegottickets.com/event/374378
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. And we grin in delight in his twist and tumult; in this process, he’s assembling his tunes in essential fashion, rolling around in the dust of his Id-bowl, then reordering the scrambled head-events into a barrage of phrases and stages, flickering through disembodied and re-embodied moments, held together by Tim’s inviolable belief in the song progression underneath. The tension is unbreakable, a thin plastic slip, as he intones upon a maze of high wild mercury stings. On the cover of his new album on Drag City, you see a bare chest and bits of bodies sketched in ragged lines of black and white. Inside, in full calor, we find Tim Presley. The dark force behind White Fence, Drinks, Hair and Darker My Love stepping into the solo light with ‘The WiNK’.
When you tune in to ‘The WiNK’, it takes a couple minutes for you to hear a word. But then it takes only one line until “and then you die,” uttered in a voice of mottled, throaty horror, as if ghosts that haven’t yet shown themselves are advancing through walls. Working with the creative team of producer Cate Le Bon, drummer Stella Mozgawa, and engineer Samur Khouja, Tim’s located the corners of a perfect square, with their creativity and truth crafting unique parts to function as songs within songs, giving the tunes double-jointed features that extend their original intentions. 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, highlighting “Can You Blame,” “Long Bow,” “Underwater Rain,” and “Clue” (to name a few), and a cover version of Willie “Loco” Alexander’s “Kerouac” (nod and a wink!), where a smooth and steadfast lyric melody is supplanted by a throw of broken guitar and shards of keys. Throughout The WiNK, Tim’s tone is thin and princely, connecting the dots sideways and backwards to align and make the image emerge.