Kiah went back into the studio with producer Tony Berg and recut “Black Myself,” beefing up the drums and adding an aggressive electric-guitar attack. The plaintive original had a heaviness because of the subject matter, but the new version feels massive by comparison. In addition to having more ideas about how she wanted the song to sound, Kiah also felt like the timing was right to re-release it.
Before she’d entered the Bluegrass, Old-Time, Country Music program at East Tennessee State University, the Chattanooga native was a self-described “sad girl who bought all my clothes at Hot Topic,” she says, laughing as she cites Tori Amos, Radiohead, and Björk among the artists who captured her attention. “I became fascinated with this form of expression where you can experiment with all different kinds of sounds and ideas.
“I had in some instances enjoyed some country music, but there was that part of me that was like, ‘It seems like country music is for a certain type of person and I don’t feel like I’d be accepted, so how can I listen to this music?’” she says. “But once I learned the history about West African influence in country music and bluegrass and string band music, and learning about the Carolina Chocolate Drops and seeing that visual representation, I was like, ‘Oh! Ok! This is cool.
“My favorite songs are the ones that you can easily vibe to it and get lost in it, but if you tune in and listen to the lyrics it’s like, ‘Oh, my God,’” she says. “Rage Against the Machine is a perfect example.
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