Tim Fite

Tim Fite is an artist and a true original. His music defies easy categorization. Esquire Magazine recently referred to Fite as, “one of rock ‘n’ roll’s most subversive renaissance men.” On March 6, 2012 Tim Fite releases Ain’t Ain’t Ain’t on ANTI- Records. It is the best record of his career. Fite currently resides in Brooklyn where he makes musical and visual art. His fine art has been exhibited at galleries in NYC, Los Angeles, Philadelphia, San Francisco and Puerto Rico. He recently finished his “12 Months Rent” printmaking series where he created an edition of 50 prints each month for a year, selling all 600. “Finding printmaking was a pivotal moment in my creative life,” Fite explains. “In it, I discovered a synthesis of art-making and machine labor that I had always dreamed of. This informed my approach to music as well, where technology and imagination maintain a healthy co-dependence.”

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Fite’s musical catalog has addressed a wide array of subjects including: love, death, injustice, poverty, greed, dirt, rats, heaven, hell, freedom, blood, shopping, shooting, barbers, mistakes, police and teenagers. These themes have been imaginatively visualized in Fite’s multi-media stage-show; a darkly whimsical affair that deftly merges music, illustration, video, and light carpentry. In the past Fite has shared stages with the likes of Man-Man, Les Claypool, Azure Ray, Porter Wagoner, St. Vincent, Fleet Foxes and others. “I would love to have a real band for my stage show, but band mates eat a lot of food, trash hotel rooms, and get people pregnant, “ Fite explains. “So in the interest of caution, I have opted for the safety of technological solitude. In the glow of the projector and the laptop, ‘the band’ becomes both infinite and non-existent, and the audience finds themselves not at a rock show, but rather, in one.”

The imaginative and evocative new record Ain’t Ain’t Ain’t will be the final installment of Fite’s acclaimed “Ain’t” trilogy. The first two albums, Fair Ain’t Fair and Gone Ain’t Gone, were powerful sound collages that artfully combined disparate musical traditions without pretense or prejudice. Yet underneath all that exquisite sound was an artist ardently addressing the issues of his time and the circumstances of his life. Both records received phenomenal response from both music fans and esteemed publications such as The Chicago Tribune, Washington Post, San Francisco Bay Guardian, NPR and more. But while Fite’s previous works addressed adult issues with a youthful exuberance, Ain’t Ain’t Ain’t is, in many ways, their thematic opposite. The central focus of the record is the pain, hope and unbridled passion of one’s teenage years. “This record is shamelessly clad in the high hopes of high-school hot pants, just as much as it is ashamed of its insecurities and aging self-awareness,” Fite explains. “Like cafeteria lunch tables, Ain’t Ain’t Ain’t is as vulnerable as it is invincible. I hope that anyone who knows what it is to be a teenager might see their reflection in these songs, and feel more alive.”