This is an electric-infused brand of folk rock that envelops all facets of a listenerâ€™s senses. The swamp-rock riffs that are such a major part of â€œI Hope Youâ€™re Thereâ€ is a perfect introduction to Fiteâ€™s world, as the shambling sound of the track shows the diversity of sounds that influence Fite throughout. The infusion of a generous synthesizer to â€œNo Good Hereâ€ brings one more dimension to Fiteâ€™s music, as does the rock (almost metal) explosions that happen at differing times during the track. The gratitious user of profanity can be rationalized by the utterly detached by the way that ey uses â€œfuckâ€ throughout the track, as another word instead of something bad. What might be the most interesting development that occurs on â€œGone Ainâ€™t Goneâ€ might just be the rap-like delivery that becomes prevalent during tracks like â€œForty-Five Remediesâ€.
In terms of innovation, it ranks right up there with the spastic pace of this disc, which has Fite move into a new genre about every thirty seconds. There are moments on â€œGone Ainâ€™t Goneâ€ where the end result is more than a little disjointed, but there are times (like the move into the guitar solo on â€œForty-Five Remediesâ€) where the sound is impressive. Starting out â€œIâ€™ve Kept Singingâ€ in an artificially-created voice similar to Radioheadâ€™s â€œFitter Happierâ€, Tim Fite continually keeps listeners on their feet and wondering where the next assault will come from. There are weak moments on the disc such as the very pop-striving track â€œShookâ€, but by and large Fite steers away from these mindless platitudes and really creates a disc that one can tell was created for the express purpose of getting everything off of Fiteâ€™s chest. Different subjects and styles are broached even at the ending tracks of the disc, and tracks like â€œA Little Bitâ€ can use different arrangements and time signatures in such a way that something transcendent is made that will at the same time work perfectly with the average music-listening masses.
While many of the discâ€™s tracks probe the harder side of things, there is nothing structurally stopping Fite from finding eir softer side. In fact, the expertly-crafted flute and emotive acoustic that are so present during â€œMascara Liesâ€ will undoubtedly have listeners hanging on Fiteâ€™s every word, even after the CD has spun to a halt. Still, the folk that lead off this CD is always close and easy to find; the hoe-down present in the sub-minute â€œTimes Comes Aroundâ€ marks another stop at that well.
Top Tracks: No Good Here, Iâ€™ve Kept Singing
Tim Fite – Gone Ainâ€™t Gone / 2005 Anti / 17 Tracks / http://www.timfite.com / http://www.anti.com / Reviewed 02 September 2005