One of the leading stalwarts of San Francisco's crazy-busy music scene, standing proudly next to the prolific figures of Ty Segall, Mikal Cronin and John Dwyer, is Mr. Tim Presley a.k.a. White Fence. The soft, creeping psychadelia of Presley's music (which isn't afraid of jumping out of the box, right at the listener) is becoming more and more distinctive and defined by him thanks to his amazing work rate over the last couple of years. Like Segall, he isn't deterred at the prospect of putting out more than one release a year (the two collaborated on the wonderful Hair LP) and almost certainly isn't stricken with writer's block.

In a press release for his latest creation, Cyclops Reap, Presley gave some insight into his madcap creative process: "After the death of my father in 2008 I started writing and recording non-stop. I can't say it was directly because of that trauma, but I think deep down it might have much to do about it." What's cool to know is that 90% of the album is fresh and new, as he also explained: "This record was initially going to be a collection of the many songs trapped between the four White Fence LP's. As i was putting that together, there were more coming. A better crop. I couldn't stop. So, instead of a retrospective i said 'fuck It'. Might as well use the most current songs of the bunch. For the exception of 'Make Them Dinner At Our Shoes' which is from 2009."

Aside from fronting the psych-rock band Darker My Love and occasionally playing guitar with Austin's Strange Boys, Presley has concocted a whole barrage of freaky, beautiful and poetic songs in his White Fence releases, some of which are pain-stakingly lo-fi; in fact the majority of them being so. Cyclops Reap instantly strikes you as sounding more accessible than say, Family Perfume Vols. 1 & 2 thanks to its relatively straightforward flow (for a Presley record) and floaty, harmonious vibe that can only be described as pure bliss. Most of Presley's material dips its toe into flower power territory, and the same can be said for Cyclops Reap. We are taken on a distorted journey through the 60s and Presley is at the wheel; whilst the songs are a little less sporadic, you still feel a slight loss of direction during the course of them. Each one winds down a path, curving and spiralling with no guarantee of coming to a close, before you finally see the exit. And this is why I love White Fence: nothing is for certain.

Cyclops Reap opens with 'Chairs in The Dark', a lovely way to begin the record thanks to Presley's soothing voice, once more harking back to Syd Barrett and his stoned vocal delivery. 'Beat' starts with the lines: "Is there a problem? Have the Queen and King died?" which further evokes a medieval setting thanks to the warm plodding bassline and regardless of the lyrics' connotations. 'Pink Gorilla' squeals into action via a fuzzbox-heavy guitar solo which re-emerges in and out of the song, creating a small amount of chaos in the vein of Jimi Hendrix.

All three of the above songs are fantastic and I have struggled to pick out the album's weaker moments. 'To The Boy I Jumped in The Hemlock Alley' doesn't quite reach the standard of the rest of the record, with little change in direction and a sombre tone. It's still White Fence pop music, but it doesn't really have any progression which means it lacks that final sense of achievement you feel when you reach the end. However, it does close on a nice bit of guitar mess that almost redeems the song. Just before it is another highlight, 'Live on Genevieve' which features some heartfelt, wispy vocals from Presley and a very uplifting melody, one of the sweeter songs on the album and definitely the one to croon to your other half. 'White Cat' continues the positivity with more Pink Floyd wackiness and some erratic organ-work before we come to the fantastic closer 'Run By The Same'. There's intricate finger-picking and some delightful chord changes, a great mix of acoustic rhythm and splashes of electric guitar. As is with the majority of the album, Presley's vocals are layered which really fleshes out the space in each song, which is interesting to hear from a man who is percieved as a home-recording bedroom wizard and someone who prefers the DIY ethics of music. The song ends in stunning fashion, leaving the listener with a soothing outro with which to reflect upon.

If you don't appreciate the lo-fi movement that is happening in many countries around the world, particularly the USA and UK, you won't be too keen on White Fence. If you do appreciate it, I'm confident you will love White Fence. And if you haven't yet discovered which side of the fence you're sat on, (no pun intended, seriously), give Cyclops Reap a spin and see where Tim Presley takes you. You never know, you might enjoy the madness.