America’s neo-psych-folk scene is alive and kicking. A style that orginates in the sixties, was dropped for a long time, and has more recently experienced quite a revival, Woods and White Fence are both at the forefront of the scene, White Fence also having worked with Ty Segall, popular indie folk dude (and whose bass player is Mikal Cronin, also a good solo artist who we featured recently). Interest in folk music among the independent artists and crossover bands that dominated much of the underground music scene in the late 1990s led to the revival of psych folk during the following decade, with the New Weird America movement, which also saw the rise of the stylistically similar genre of freak folk, forming another branch of semi acoustic weirdness.
Monday 17th August sees Woods and White Fence sharing a bill in the Bi Nuu – we have two tickets to give away, just write to win at indieberlin.de and tell us why you should be the lucky two!
“Woods’ brand of pop shamanism has undergone several gradual transformations over their past few albums, but on With Light And With Love, the tinkering reveals an expanded sonic palette that includes singing saw, heavier emphasis on percussion, and a saloon piano that sounds like it was rescued from a flooded basement. Distinct from both the stoned volk of their earliest recordings and the Kraut-y dalliances of more recent fare, With Light And With Love showcases a more sophisticated brand of contemporary drug music that owes more to Magical Mystery Tour than motorik. If you’ve ever thought of Woods as a pop group comprised of weirdos, or a weirdo band that happens to excel at playing pop songs almost in spite of itself, With Light And With Love provides a corrective in the form of songs that show these two elements as natural, inextricable bedfellows. Throughout the album, vocals are frequently emitted through Leslie speakers and guitars perform one-string ragas like Sandy Bull reared on shoegaze and skate videos. With Light And With Love is an album of deeply psychedelic, deeply satisfying songs for a new age of searchers, of Don Juan and Animal Chin alike.” – James Toth
It’s the 21st century man — we’re way past the feudal phase! Yet, somehow, some people still radiate their noble bearing, no matter where
they are — just as certain songs are clearly meant to sing from the turrets still. In this fashion, and with high-collared coat turned up against the cruel wind, White Fence emerge from their high aerie to display a shining array of royal jewels each time they unveil a new pop album to the world. The
gliss and glitter that sounds forth from For the Recently Found Innocent has a shine all its own, and for Reasons too. For the Recently Found Innocent is many things — the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City. Plus also, a sophomore pump: the second time that Tim Presley and Ty Segall have met to record music (does anyone remember Hair?), this time pure and simply committed in the name of White Fence. Inevitably, the collision at the intersection of all these winding roads is a beautiful pileup of deep impacts, graceful lines and open space embodied in sound, White on White, compacted for your eyes and ears to believe.