OK, here we are once again with the SubModern Report. Gonna keep things short and sweet today and get right into it. Congratulations to Superchunk for topping both charts with their forthcoming 11th album What A Time To Be Alive (due out in February) and its title track. Porches are (is?) #2 on both charts as well with the forthcoming album The House and its single "Find Me," which actually tied with Hookworms‘ "Negative Space."
The Domino-ation continues on the singles chart with Franz Ferdinand‘s "Always Ascending," tied for #4 with last week’s #1 single, "Astronaut (Something About Your Love) from Mansionair. It’s another tie at #6 between Ezra Furman with "Love You So Bad" and MGMT‘s "Little Dark Age." Fever Ray is at #8 with "To The Moon And Back" off the new album Plunge, which is right where we left it at #4 on the album chart. The top ten singles are rounded out by another tie between Bastille‘s new song, "World Gone Mad," from the upcoming Will Smith / Netflix movie Bright and "These 3 Things" from Ought.
Back over on the album chart, St. Vincent‘s MASSEDUCTION is on the rise again at #3, followed by the aforementioned Fever Ray and a tie at #5 between Julien Baker with Turn Out The Lights and Liam Gallagher with As You Were. Another tie forllows at #7 between The Front Bottoms‘ Going Grey and Quicksand‘s Interiors. Courtney Barnett & Kurt Vile are in at #9 with Lotta Sea Lice and we close with Bully‘s Losing at #10. See all that and more below along with this week’s adds.
You can also keep reading for my latest interview and SubModern Session with Black Kids. Enjoy and I’ll see you back here next week as we prepare for Thanksgiving!
|1||SUPERCHUNK||WHAT A TIME TO BE ALIVE||MERGE|
|4t||FRANZ FERDINAND||ALWAYS ASCENDING||DOMINO|
|MANSIONAIR||ASTRONAUT (SOMETHING ABOUT YOUR LOVE)||GLASSNOTE|
|6t||EZRA FURMAN||LOVE YOU SO BAD||BELLA UNION|
|MGMT||LITTLE DARK AGE||COLUMBIA|
|8||FEVER RAY||TO THE MOON AND BACK||MUTE|
|9t||BASTILLE||WORLD GONE MAD||ATLANTIC / RRP|
|OUGHT||THESE 3 THINGS||MERGE|
|11t||NOEL GALLAGHER’S HIGH FLYING BIRDS||HOLY MOUNTAIN||CAROLINE / SOUR MASH|
|TUNE-YARDS||LOOK AT YOUR HANDS||4AD|
|TY SEGALL||MY LADY’S ON FIRE||DRAG CITY|
|14t||AWAKEN I AM||BLACK DREAMS||VICTORY|
|THE KILLERS||RUN FOR COVER||ISLAND|
|ST. VINCENT||LOS AGELESS||LOMA VISTA / CONCORD|
|17t||THE GLOOMIES||SPACE||THRILL ME|
|19t||BRIAN FALLON||FORGET ME NOT||ISLAND|
|THE FRONT BOTTOMS||PEACE SIGN||FUELED BY RAMEN|
|QUICKSAND||WARM AND LOW||EPITAPH|
|22t||JULIEN BAKER||TURN OUT THE LIGHTS||MATADOR|
|SLEIGH BELLS||FAVORITE TRANSGRESSIONS||TORN CLEAN|
|24t||THE BLOODY BEETROOTS (FT. PERRY FARRELL)||PIRATES, PUNKS & POLITICS||LAST GANG|
|DANIELE LUPPI & PARQUET COURTS (FT. KAREN O)||TALISA||30TH CENTURY / COLUMBIA|
|DJANGO DJANGO||TIC TAC TOE||RIBBON|
|THE GLORIOUS SONS||EVERYTHING IS ALRIGHT||SELF-RELEASED|
|LIAM GALLAGHER||COME BACK TO ME||WARNER BROS.|
|LIZA ANNE||PARANOIA||ARTS & CRAFTS / CAROLINE|
|POP ETC.||FINGERPRINTS||Q PRIME|
|PORTUGAL. THE MAN||LIVE IN THE MOMENT||ATLANTIC|
|SUNFLOWER BEAN||I WAS A FOOL||MOM + POP|
|SUPERORGANISM||SOMETHING FOR YOUR M.I.N.D.||DOMINO|
|THE USED||OVER AND OVER AGAIN||HOPELESS|
|THE WOMBATS||LEMON TO A KNIFE FIGHT||BRIGHT ANTENNA|
|1||SUPERCHUNK||WHAT A TIME TO BE ALIVE||MERGE|
|3||ST. VINCENT||MASSEDUCTION||LOMA VISTA / CONCORD|
|5t||JULIEN BAKER||TURN OUT THE LIGHTS||MATADOR|
|LIAM GALLAGHER||AS YOU WERE||WARNER BROS.|
|7t||THE FRONT BOTTOMS||GOING GREY||FUELED BY RAMEN|
|9||COURTNEY BARNETT & KURT VILE||LOTTA SEA LICE||MATADOR|
|11t||GGOOLLDD||TEETH EP||ROLL CALL / INGROOVES|
|WALK THE MOON||WHAT IF NOTHING||RCA|
|13||SLEIGH BELLS||KID KRUSCHEV||TORN CLEAN|
|CURTIS HARDING||FACE YOUR FEAR||ANTI-|
|DANIELE LUPPI & PARQUET COURTS||MILANO||30TH CENTURY / COLUMBIA|
|PEARL CHARLES||SLEEPLESS DREAMER||KANINE RECORDS|
|STARS||THERE IS NO LOVE IN FLUORESCENT LIGHT||LAST GANG|
|WOLF PARADE||CRY CRY CRY||SUB POP|
|21t||GRETA VAN FLEET||BLACK SMOKE RISING||LAVA / REPUBLIC|
|HIPPO CAMPUS||WARM GLOW EP||GRAND JURY|
|HOLY MOLY & THE CRACKERS||SALEM||KARTEL|
|JESSICA BOUDREAUX||NO FURY||NEW MOSS|
|KING KRULE||THE OOZ||TRUE PANTHER|
|MANCHESTER ORCHESTRA||A BLACK MILE TO THE SURFACE||LOMA VISTA / CONCORD|
|MORRISSEY||LOW IN HIGH SCHOOL||BMG|
|PROTOMARTYR||RELATIVES IN DESCENT||DOMINO|
|SIR SLY||DON’T YOU WORRY, HONEY||INTERSCOPE|
Way back in 2007 the blogosphere was abuzz about a band out of Jacksonville, FL called Black Kids. Following the success of their debut album Partie Traumatic in 2008, fans waited for years with nary a peep out of Reggie Youngblood and co. until a surprise re-emergence this year with their long-awaited follow-up Rookie. I recently sat down with Youngblood, his sister Ali, and bandmates Dawn Watley and Owen Holmes to chat about the new album. They also played a few songs live for another FMQB SubModern Session, which you can listen to here.
FMQB: Good to have you here with us and here in general because it’s been quite some time. I’m sure you’ve been answering this question in every interview since you’ve been back out on the road, but why’s it been such a long time since we’ve heard from Black Kids and what have you been doing in the interim?
Reggie Youngblood: Usually I’m kind of glib about it and say that I’ve been watching television non-stop (which is true), but in all honesty, we just couldn’t find the songs we wanted. We would go into the studio in earnest and work pretty hard. I think we probably recorded three albums since the last time we released one. But this was the only session that stuck, that felt good and felt right. All the elements were in place. We were in a studio we liked in Athens, Georgia (that’s where I live now). We were working with a producer / engineer that we really loved, Andy LeMaster. We finally had a batch of songs that made sense as a follow up. We had choruses that we liked. I couldn’t write a chorus to save my life for some reason, well at least not for this project. So, it was just waiting for things to fall in place.
FMQB: So, it was no drama or anything crazy like that?
RY: Sadly, no. It was just wanting it to be something that we liked before we put it out there. I think it would’ve been unfortunate if we put out the songs that we didn’t really care for.
FMQB: Yeah, of course you don’t want to put out something that you’re not proud of. When you came out with the new record, did you wonder if people would remember you and how it would be received?
RY: Well, we usually made it a point to go out and do a couple weeks on the road. So, y’know people were coming to the shows and our online interactions with our fans are pretty lively.
FMQB: So people knew that you were still a thing and your fans were probably very eager for some new tunes.
Owen Holmes: Yeah, they never really let up.
RY: They were very aggressive. Almost belligerent. (Laughs)
FMQB: How are they receiving what they’re hearing?
RY: With joy!
OH: And relief.
FMQB: They’re latching on to the new songs?
RY: Yeah. It does seem like a good follow-up in that it’s different, but the same.
FMQB: It has the right feel. I’m curious that if you had released some of what you recorded in the interim, would it have not felt to us like Black Kids?
RY: It would’ve been a trap that most bands fall into, which Owen and I refer to as "mature second record." Y’know the cellos are there all of a sudden, apropos of nothing. The lyrics were going too earnest because I was sick of the bratty tone of the first record. So then, I just split the difference and it felt pretty good.
FMQB: Some bands will put out that "mature second record" and it might not be as well received so then they’ll kind of go back to the sound that made people love them in the first place. So, you just skipped a step in there.
RY: We showed some restraint and did not release the "mature second record," which is a sign of maturity. (Laughs)
Find out more about what Black Kids are up to and see their latest videos at BlackKidsTV.com. Listen to their SubModern Session performances of "Rookie" and "In A Song," plus an old favorite, "I’m Making Eyes At You," here.
By Josh T. Landow