Friday, December 12, 2014
The Fitt on Big Neck Records
Sometimes bands put the guitar on an almost obscene pedestal. I don't think The Fitt were consciously trying to change hearts or minds it's just hard to hear anything but the metallic chunks of staccato bursts from Pat on guitar. Laid back garage guys might have a reverb pedal or two but don't, for the most part, mess with that sound. It's just a guitar jangle after all - big deal. Guys like The Fitt worship their guitar and push every discipline of the bass and drums as far, probably to a breaking point because after all if you can't do this for a living there comes a point where more rehearsal after work just isn't going to ever cut it. A perfect example of the flash of a match being lit in the darkness of Pittsburgh.
On "Hawk Eyes" the guitars are strictly rumbling, the kick is in double pedal Pantera territory chopping it all up into concise mirrored patterns and breaking the vocal into bursts of syllables. The only sound that's even a little bit close is At The Drive In's intensity and drive. "Scholar" makes In The Meantime seem like one of those free calculators that's in the top drawer of your desk until The Fitt make you go down to radio shack and buy one of those huge scientific calculators with an LCD display and cosine functions that you're never even going to know completely how to use. This is huge and scary and fast.
"Visions" blurts kicks and muted power chords verging on dark metal but the yelling vocals from the back and the way they run into full speed melody steers this clear of anything else really. Released four years ago it may even belong with the likes of Pelican or Mono if they also put an entire record on one side of a seven inch.
B-Side's "M80" fades into feedback and a completely insane drum rhythm, just beating out the tom while the kick works doubling underneath, if this is instrumental they've got me. Yep. Perfect melodic representation of a bunch of massive explosives going off one after another. "Gonna Get it now" dives into scraping strings and cymbal crashes with no end. Pushing each other this is the mental breakdown a normal band would stick between versus and these guys turn it into a 55 second track of it's own. "Killer" has abbreviated guitar chunks over a sane rhythm except for the stumbling rolls that don't even sound real. This blows up though into feedback between the chords, the strings perched on the edge of perpetually vibrating, for the amps to pick up of course. Clean and bordering on Shellac like clarity and weight. I really thought this single would have to have been pressed at 33 but they manage six tracks onto a 45 because I think they needed that extra speed for this low end to spread out.
Get this from Big Neck Records.
Still single liked their full length, pick this up from Big Neck Records.