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Fite approaches music-making with little more than his four favorite chords, a love of Woody Guthrie and Public Enemy, and a stack of other people's sadly forgotten records. The emerging sound is like no other: natural, unique and teeming with fresh blood. While Fite is by no means a virtuosic instrumentalist, he knows how to build a compelling song. His primary talent lies in his knack for finding, stealing, and transforming other people's music into his own, utilizing his resonant voice to lend a disquieting emotional sincerity to the mix. "Gone Ain't Gone", a wry, anachronistic, copyright-defying, country/hip-hop collage, was made mostly from CDs rescued from dollar bins of Australian bar bands, DC garage-punks, and demos from up-and-never-coming rock bands. It's all sampled, looped and laid down as the blueprint for his intriguing avant-folk vision of musical crime and resuscitation. --This text refers to the Audio CD edition.
Fite approaches music-making with little more than his four favorite chords, a love of Woody Guthrie and Public Enemy, and a stack of other people's sadly forgotten records. The emerging sound is like no other: natural, unique and teeming with fresh blood. While Fite is by no means a virtuosic instrumentalist, he knows how to build a compelling song. His primary talent lies in his knack for finding, stealing, and transforming other people's music into his own, utilizing his resonant voice to lend a disquieting emotional sincerity to the mix. "Gone Ain't Gone", a wry, anachronistic, copyright-defying, country/hip-hop collage, was made mostly from CDs rescued from dollar bins of Australian bar bands, DC garage-punks, and demos from up-and-never-coming rock bands. It's all sampled, looped and laid down as the blueprint for his intriguing avant-folk vision of musical crime and resuscitation. --This text refers to the Audio CD edition.
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