Presley, Tim - The Wink (CD) |

On the cover, 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 steps into the solo light with The WiNK. Lit up within the shades and the folding conflex of his many musical outfits are the musical sparks that make Tim Presley come alive — but The WiNK lives beyond all previous incarnations found in Drinks, Hair, White Fence and Darker My Love. Here, there’s fewer filters than ever between you and Tim. Thus, his name up front; a wink towards ostensible (and ominous?) solosity, making light as it whistles through the layers that cage Tim’s life. 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 reembodied 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. 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 doublejointed 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