Release Date: Mar 6, 2012
Record label: Anti
Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock, Indie Rock, Indie Electronic, Alternative Singer/Songwriter
You might need to be familiar with Tim Fite’s “Ain’t” trilogy to realize that the title of his latest album, Ain’t Ain’t Ain’t is a sentence, and not a mantra. The distinction matters, because Fite never asserts a nothingness here. While his title might feel like a superficial postmodern play of meaning, his songs delve into a resistance of the ain’t.
The last installment of Tim Fite's "Ain't" trilogy finds him cutting and pasting musical segments to create song collages as usual, and after spending four laborious years piecing Ain't Ain't Ain't together, it comes as no surprise that it is his most complicated conception. But it is also his most genre specific. There has been a logical transition over the course of the last three albums.
Ain't Ain't Ain't, Tim Fite's first album for Anti- in some years after a series of concept-heavy self-releases, is nice enough. It's a collection of spindly, shuffly, sorta countryfied indie rock, with the genial, slightly goofy Fite cracking wise over top. It's a long way from his one-man answering service days with Little T and One Track Mike-- of turn-of-the-millenium mtvU staple "Shaniqua"-- and even his earlier salvaged-from-samples solo work.
Tim Fite will help you recapture your wasted youth with his latest aural offering, Ain’t, Ain’t, Ain’t. With a background in hip-hop as one half of the early-00’s duo Little T and One Track Mike, Fite inculcated an entire generation with the phrase “Shaniqua don’t live here no more,” a refrain somehow embedded in the psyche of even those who have never knowingly listened to the song. But that was then, and this is now.
For the final installment of his Ain't trilogy, Tim Fite has created a deep, spectacular work of musical craftsmanship. Combining conventional instruments with prerecorded samples of fireworks, botched riffs, and chains being dropped from great heights, the Brooklynite's taken thousands of minute sounds and reconstructed them, note by note, into beautiful and harmonious compositions of eccentric pop. Atop the mix, signature techniques of excessive vocal layering and stagey talk-singing accentuate Fite's clever, topical lyrics.