Thrown Into the Deep End

The Rapid Rise of Black Kids

originally published September 24, 2008

As far as hotbeds of music go, Athens is good at cultivating acts but not so good at breaking them into the mainstream. That's because much of the national music media focus on larger, less insular, more media-friendly cities that are easier to cover - New York, Los Angeles, Omaha, Austin. Our bands that break out, bands like Of Montreal, Dead Confederate and The Whigs, get attention not because of performances they put on here, but rather because of the stellar shows and killer tunes they take on the road. So, it came as a big surprise last summer when Black Kids - an unknown band out of Jacksonville, FL - gained an unprecedented amount of hype, hope and attention due to a performance at the 2007 Athens Popfest.

A rave review on the tastemaking site Pitchfork turned ears towards the band's ebullient, infectious pop music, and almost overnight the band was wrestling with major label offers, international tours and online dissection of the songs on its debut EP Wizard of Ahhhs. Packed with sharp, jangly, reverb-soaked guitars and luxurious synths, the album reveals another Athens connection - it was recorded in Florida by producer Jesse Mangum, now an Athens resident and head of The Glow Studio. "I didn't know anyone in the band before we worked together," says Mangum. "They were one of the opening bands at some show I went to see in Jacksonville Beach, and I thought they were far better than whoever I had gone to see. I was about to open my recording studio to the public, and I had been looking for a band to come in and record a free demo - really, so that I could be sure all of my equipment was functioning properly!"

The results of those recording sessions became the Wizard of Ahhhs EP - originally just demos posted to the band's MySpace page but then seized upon and raised up by the Internet hordes. After some tough touring and struggling with the fast rise to fame, the band settled a little, re-recorded some tracks, laid down some new ones, and dropped the debut full-length Partie Traumatic in July on Columbia Records. The result is a much glossier, professional-sounding album. "With respect to the actual songs, I think a lot of people have come to feel stronger about the ones on P.T. that weren't on the EP than the ones that were on the EP," says vocalist/guitarist Reggie Youngblood. "'I'm Making Eyes at You' and 'Look At Me (When I Rock Wichoo)' come to mind. As far as production, we've lost some listeners with the release of the full-length, but I think we've gained far more. Obviously, many people who dug the lo-fi sound of the EP have been put off by the glossiness of P.T. On one hand, this isn't totally beyond my comprehension. I love a lot of lo-fi stuff, too. But on the other, it's like, these are fucking pop songs, right? Have you heard New Order's records?"

Since the release of the EP has faded, and the band's full-length debut is out, the group has been able to relax a little in terms of meeting expectations - once you're pegged as a hot new act, crowds expect a hot show and hot songs, says Youngblood. "We were thrown in at the deep end. Sink or swim. Fortunately, I think we've swam for the most part. We've had to work really hard to improve our live show. (We'd been practicing only every other week or so when we started to get all this attention, so we've had to 'grow up' as a band very quickly.) Since the release of the album, I'm relieved to be able to say that we're settling into things. In a sense, it seems like you cease to be a 'buzz band' once you release the damn album, and then people can actually judge the music for what it's worth and become a little less concerned about the hype surrounding the band and the band's backstory."

Mangum, whose The Glow Studio here in town has continued to work with Jacksonville bands as well as Atlanta and Athens acts, says, "Naturally, I was very happy to be involved with such a critical success, especially so early on in my career as a producer/engineer, but I also felt the same way about it as the band did: that it was all happening a bit too fast. Black Kids were/are a great band, but at that time they simply weren't ready for all of the attention that they were getting. They had to work extremely hard at breakneck speed in order to become what they needed to be to keep up with their hype. I couldn't have done it, myself.  I would have broken under the pressure."

Black Kids' immediate future entails a tour of the United States that'll run through October, then it's over to Europe through November and on to Japan in December. Youngblood says the band will remain based out of Jacksonville for at least the next six months, although the attention has opened up opportunities for change. "We've recently begun to discuss the possibility of living somewhere else while we write and record the next album," he says. "We like Paris a lot right now. And London, NYC, Portland, Seattle, Stockholm, Athens and San Francisco."

As an example of how the Internet can accelerate a band's career, Black Kids provide a prime case study, and although it can be an inspiring story for aspiring superstars, their experience is the exception from the norm. With the glare of the spotlight shifting to other acts, the band can now be met on its own terms - something with which its members are infinitely more comfortable. Hype can be brushed aside, all the hundreds of thousands of words written can be boxed up, and Black Kids can do what they do so well - be a band and play some fine, fine pop songs.

Chris Hassiotis

WHO: Black Kids, The Virgins, Magic Wands
WHERE: 40 Watt Club
WHEN: Wednesday, Sept. 24
HOW MUCH: $10 (21+), $12 (18+)