David Kitt's music is one of those most rare of things: a perfect fusion; the whole is so much greater than the sum of it's parts that even to try to separate them is a betrayal of the elusive nature of it's success.

Here, anyway, is a treasonous attempt: take a heart of pure, simple, resonant song; set it to big pop orchestrations that echo many ages of playing and production and fuse that with unusual instrumentation and a healthy interest in experimental, electronic processes.
You're still well short of the mark; there are few really useful reference points for this music and even less for where it's going. Imagine a sound that's somewhere between Roy Harper and Tricky; composition that treads the line that joins Steve Reich to Pan Sonic; this sound can be found sometime between Koln '72, New York '78 and Sheffield now It should be known that David Kitt is from a musical family.
His mother is said to have perfect pitch and his father and uncles (from Caltra Co. Galway) were a successful touring folk group for years; this has meant that there was always music and musical instruments in the Kitt household and that is why it's difficult to find a beginning for this story.
We lack a dramatic opening like: 'I sold my leg when I was seven for a broken sieve that I thought was an acoustic guitar' …… or something like that. David says that for as long as he can remember he's been playing on instruments and recording the results on the family tape-recorder or whatever equipment was to hand.

Following his degree in Trinity College Dublin he took a postgraduate course there in music technology. He had already garnered something of a reputation from his frequent gigs in the college bars (reportedly these were rowdy antagonistic, whiskey-fuelled affairs, a very different sort of gig altogether); the course offered a chance to study the technical side of the business.
Fellow music technology alumnus Simon O' Connor began working with David on his live set and introduced him to the group Das Madman with whom Simon worked. Also playing in Das Madman at the time were Paul Smyth and Diarmuid and John Dermody all of whom would be involved with David's career. The band put David on the bill for one of their shows and the Das Madman brand of heavy noisy riffs underpinning sweet melodies and metal-on-metal frisson combined with David's (at the time) intensely intimate and melancholy set was a strangely compelling mix. The band were delighted to have David play at their gigs whenever possible and David was later able to return the compliment by having the band's current incarnation as The Jimmy Cake support him at a triumphant end-of-tour show in Whelan's bar last year.
Relationships were also forged at this time with other Dublin luminaries such as The Frames among others. David was getting a lot of gigs supporting many visitors to these shores and frequently upstaging them entirely; his reputation was growing in leaps and bounds.

For special gigs the heavy artillery was brought out in the form of Robbie Kitt (his little brother) for a duet on 'Another love song' which would, without fail, bring the house down. All the while David had been recording his material on a digital 8-track in his rented room in house on Londonbridge road in Ringsend, Dublin.

Being a nocturnal worker he was forced to record the songs extremely quietly, so as not to disturb the household. This process created a somewhat unusual atmosphere on the recordings, which has captivated listeners all over the world.
Strangely, of all the record companies that David talked to, only Geoff Travis at Rough Trade saw the possibilities in releasing the recordings as they were. For that reason David signed to Rough Trade for the release of 'Small moments' as the album came to be called, with future releases to be issued on Blanco Y Negro, the label run by Geoff Travis in conjunction with Warner Brothers.
The live band was stripped to a three-piece with Paul Smyth (well-known free improvisational pianist and promoter of strange happenings) on keys and Diarmuid Mac Diarmada (co-conspirator with Smyth and a prolific composer / producer) on sax and clarinet.

Extensive touring has moulded this group into an excitingly intuitive and magical unit. They are best seen in one of the smaller towns in Ireland where there isn't an early curfew on the performance; they can stretch out for over two hours with almost no visible strain on themselves or on the audience.
The band has had the pleasure of touring with Arab Strap and of playing with Yo La Tengo, Tindersticks and Television among others. Even before the release of 'Small moments' David was shaping the material that would become his major label debut: 'The big romance'. Through demoing the songs in Area 51 studios with Ken Mc Hugh co-producing and using the backing tracks live, the material was rigorously tried and tested before the recording proper.

After a full year of this process the results are ready to see the light of day. At the time of writing, the single; 'Song from Hope St.' is about to be released with an accompanying mini-tour. Following shortly on from that will be the release of the album itself and David has everything that goes along with that to look forward to.