{"id":2636,"date":"2011-02-07T10:24:06","date_gmt":"2011-02-07T09:24:06","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=2636"},"modified":"2011-10-18T11:21:14","modified_gmt":"2011-10-18T10:21:14","slug":"putting-the-fine-in-undefinable-the-music-of-graham-fitkin","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2011\/02\/07\/putting-the-fine-in-undefinable-the-music-of-graham-fitkin\/","title":{"rendered":"Putting the fine in undefinable: the music of Graham Fitkin"},"content":{"rendered":"

Graham Fitkin<\/a>‘s music first\u00a0attracted\u00a0my attention\u00a0in 1998, when I came across an SPNM sampler disc containing a tantalising segment of Cud<\/a><\/em> and a complete performance of Hook<\/a><\/em> which all but took my head off. That was enough: bam, I was, well…hooked. I think I had those two pieces on the disc on repeat for the best part of a year, a blissful relationship only interrupted by my moving house and losing the disc.<\/p>\n

\"\"His music defies those neat genre-defining labels that critics and music shop stockists love: classical, minimalist, techno, jazz. Combining repetition, polyphonic rhythmic inventiveness, sampled and electronic sounds and a tonal language glittering with bright colours, it’s a music that refuses to be neatly pigeon-holed.<\/p>\n

I love the vibrancy of Hook<\/em>; the driving rhythmic vitality, brash modern textural writing, and the sheer exuberance in the music that makes it infectious listening.<\/p>\n

There’s something rather ‘X Files’-like about\u00a0‘Warm\u00a0Area’\u00a0from\u00a0Still Warm <\/em>for\u00a0harp and electronics (although that might just be my response to the tonal colours and the imagery of the accompanying video…!)<\/p>\n