David Kitt - The Big Romance (2001)

David Kitt had already released a mini-album that he recorded in his bedroom (if you are about to tune out, hang on it's worth it I promise you!) by the time he got around to releasing this, his proper debut. The e.p. title 'Small Moments' featured 'Another Love Song' that has attained legendary status in his hometown (Dublin) and more particularly his favourite venue, Whelan's of Wexford Street. David Kitt is the son of politician but thankfully his songs are based on more trivial matters. While Kitt grabs all the attention, some recognition must be given to his band. Diarmuid Mac Diarmada whose inspirational moments on the sax and clarinet are omnipresent on the album. Paul Smyth is the electronic wizard who has helped reshape Kitt's sound from its earthy lo-fi beginnings.

David Kitt's vocals aren't exactly unique. They resemble an modern Nick Drake (yeah another one!) and give off the impression of a master not having to reach too hard to find his range. In saying that they are wonderfully balanced and after a time they really stick in your head. Perfect for those drizzly winter mornings stuck in traffic when you're in need of a comfort fix (in other words every morning in Dublin). The album opens with 'Hope Street (Brooklyn, N.Y.)' which has been tried and tested over several years of constant gigging. It is perhaps Kitt's most obvious song, with the most primitive of beats and a circular guitar ensemble backing up the singers dried off deep fried vocals. While it might not add up to much initially, don't underestimate the power of this tune. It will lodge in your consciousness with all the accuracy of a colt 45.

Like drifting snow 'You know what i want to know' is likely to blind you to all else. There are searching brass interludes but it's the jingling guitar that Kitt's voice uses as a marker to ram the point home. At this stage you'll have noticed that most of Kitt's material runs in a loop, turning over the same ground incessantly for 4 or 5 minutes. While this doesn't sound great on paper, the reality on vinyl is close to breathtaking. While the opening 2 songs have a cock sure momentum, 'Step Outside In The Morning Light' drops down a gear. You can hear a little of Chicago in its make-up. The plinking keys and textured bleeps do upgrade the sound a little thankfully. Some tweeness and light never hurt anyone anyway. Incidentally this track originally appeared on the aforementioned 'Small Moments' e.p. in a slightly different guise.

Things go a tad atmospheric on 'Private Dance'. For once the vocals don't hog the spotlight. Instead the songs landscape is painted by a innovative approach to blending disparate sounds. It is quite short but signals where the u-bend appears in the albums direction. 'Pale Blue Light' starts out like a David Gray quick step but as Kitt introduces himself you realise first impressions can be deceiving. 'Pale Blue Light' is semi-shambolic in style, the bass is dull, the drumming is plain and the keyboard drones are unremarkable. It has a chorus of sorts but it's just too minimal to disguise the feeling of disappointment. Thankfully 'Pale Blue Light' is the lowest point on 'The Big Romance'. From there on in the recovery is remarkable. 'What I Ask' is the sound of a genius at work. With help from Sinead O'Connor and the underrated Nina Hynes 'What I Ask' blends pure harmony with a cacophony of guitar licks that could go on from now till dawn and still sound refreshing. At full tilt the song spits out diagonal shards of sounds at will, as it wilts the serene edge is masterful.

In an album with so many twists and turns it comes as no surprise that 'Strange Light' slows the pace down again. All you get is Kitt with acoustic guitar while Smyth throws in an array of electronic bleeps and skirmishes. 'Whispers Return The Sun' comes at the tail end of 'Strange Light' before it has fully bid farewell. Once again the ante and the quality is raised. There is a cosy familiar feel to the way the words are delivered but the melody is heaven sent. The xylophone moments are inspired, in fact the song could provide the soundtrack to the most precious moment you experience next Christmas. 'You And The City' could easily to bracketed into several different genres such is the disparity of sounds at work. Just as it seems to have carved out a thread, it completely changes tact. The unnerving violin screeches, the blisteringly catchy keys, the sunken vocal emotions and a dozen shades of atmospheric last stands make up a remarkable lavish opus.

At the end 'Into The Breeze' is left with a lot of work to tie up all the loose ends. In some ways it proves to be the albums most consistent song. There is a start, a middle and an end. Building with each new layer of spiritualised organic manoeuvres it is hard to quell the feeling of absolute happiness that the song embellishes. Appropriately the fuzzy electric's are superseded by Kitt himself. The Big Romance sits easily beside the better Irish Records released in the new millenium. Laidback has rarely been this inventive, this is the perfect soundtrack for those fragile small moments. Forget there's a big bad world outside, this is the CD equivalent of an open hearth fire.

Rating: 9/10

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