For the Recently Found Innocent is Tim Presley’s fifth studio album as White Fence, as well as his second collaborative effort with fellow psych-pop auteur Ty Segall. But, and perhaps most importantly, it’s Presley’s first foray outside his bedroom-recording setup. Exchanging his home studio for Segall’s garage, and his four-track for Segall’s eight, the album feels downright expansive by comparison. White Fence is a project that has always worn its inspirations on its sleeve, and here they’re paid solid homage. “Sandra (When the Earth Dies)” calls to mind the eerily druggy folk of Syd Barrett, while the wobbly sway of “Hard Water” seems to take its cues from The Byrds. But Presley’s shtick has never been strict imitation. Instead, his music reads like a jangly sort of cocktail — a potent, heady concoction whose ingredients taste like everything and nothing all at once. There’s a woozy, almost underwater quality to songs like “Actor” and “Fear,” but elsewhere tracks burst to life, a nod to White Fence’s famously explosive live shows (“Arrow Man,” “The Light”). Lyrically speaking, Innocent could easily be Presley’s strongest to date. Dark themes run deep, unifying his surrealist yarns about jealousy, gluttony, greed, and anxiety just enough to keep the whole thing flowing. And flow it does. In the span of its 40 minutes, Innocent ambles along with intention; nary a track feels like filler. Turns out White Fence can rip outside of the bedroom, too.
For the Recently Found Innocent