Jessica Pratt, Jonathan Rado, plus DJ selections by Britt Govea of <
155 Fell St
San Francisco, CA, 94102
This event is all ages
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.
In the tale of For the Recently Found Innocent, Tim Presley has succeeded in bringing his signature role, that of the hissing reptilian wraith, to the magnesium screen. Moving with the sidewalks in the first rippling of the light, our gimlet-eyed hero is steeped in the time-honored practice of hand-eye coordination known as 'rhythmatism'; master of verbal acrobatics (always sticking the landing) and palm-reading melodies, where he proves uncannily prescient in tracing where the lifeline goes as moves it through the path of verse-chorus-bridge-et al.
White Fence's previous release, Cyclops Reap, demonstrated a process being executed at the top of its game (which, we know, is NOT a game). For the Recently Found Innocent surges forth with fresh set of elaborately crafted songs, harmony vocalizations and trippin' guitar tones that strike the face and viscera with an equal (easy) blow. White Fence conjure a fantasy about reality, of the world as it is and should always be; their songs are alterna-hits played out in green sun, in blue air, on repeat, relentless, RIGHTEOUS in the privacy of front-parlor and yes, bedroom - White Fence, full-circle, from the cradle to the grave!
"To say that Jessica Pratt is an old soul would be a vast understatement," says Jenn Pelly of Pitchfork. "The young San Francisco singer/songwriter's deeply intimate folk sounds so sincerely cast in from the 1960s that it's hard to believe she didn't release a proper LP during that period of time." Pratt's spooky and seductive self-titled debut is the inaugural release on Tim (White Fence) Presley's new imprint, Birth Records.
Pratt's debut release includes recordings from over the last five years, and steady advances in sophistication of recording and melody are evident throughout. To the artist, the record is a time-lapse document of discovery, both musical and personal. But in strangers' hands, Pratt's debut is another kind of discovery altogether. A fully-formed emerald artifact dug up cobwebby and cold but no less green for its time spent buried. Sun-bleached and sounding a thousand years old, Pratt's debut is arrestingly brand dazzling new, and watch how the lights in your living room go soft and yellow when you put it on.
"While Jonathan Rado has been leading San Francisco’s Foxygen for the last half decade, he’s been making his own bedroom recordings since junior high. This September, he’ll share some of that work with the release of his debut solo album, Law and Order, via Woodsist.
According to a press release, the album expands upon Foxygen’s psych-pop, referencing the likes of Bob Dylan, Prince, and White Fence for a sound likened to if “the San Fernando Valley and the Lower East Side flirt over muddy coffee, get married over corned beef, and give birth to a Motown drum beat.” But while Rado apes plenty of acts, the album 'champions simplicity, catchiness, and cranberry-plush playfulness, without ever maliciously satirizing the material of inspiration. Rado enters familiar musical forms and puppeteers caricature voices with the most appreciative irreverence and, stretching out on a big burlesque bed.'
As a first taste, Rado’s released the album’s lead single, 'Faces.' This go around, Rado’s channeled the essences of Eric Burdon and Davey Jones, delivering a boyish croon with undertones of darker intent over a hodgepodge of ’60s acoustic pop-rock and pseudo-psychedelic organ." --Consequence of Sound
plus DJ selections by Britt Govea of <
Tickets Available at the Door