Bartees Strange is energized. The English-American artist, originally from Ipswich, raised in Oklahoma, and currently residing in Washington D.C.—which partly accounts for his diverse, multi-genre approach to songwriting—delivers an even more refined sound on his new album, ‘Horror’. Filled with Sting-like riffs and lyrics addressing the harsh truths of a brutal world, ‘Horror’ overflows with themes of angst, violence, melodrama, and revenge.
Bartees’ location in Washington places his work at the political heart of the Western world. The right-wing authoritarianism that surrounds his chosen home is reflected in his songwriting, which delves into issues of fear, identity, and community; fear that is deeply intertwined with identity. As a Black queer artist, Bartees embraces the role of being a spokesperson for his community, crafting lyrics that resonate with listeners amidst the oppressive climate.
The lively lead single ‘Wants/Needs’ highlights Bartees at his most vibrant, featuring guitar riffs reminiscent of Mk.gee. The upbeat, almost jazzy guitar complements the song's quick tempo, with vocal reverb providing a subtle echo to Bartees’ lyrics. Encouraging the audience to reflect on verses that express the complexity of a love song, he poignantly addresses the societal concerns surrounding cultural erasure: “I get scared of erasure ‘cause it just seems to happen, don’t it?… I never lose with you in my arm.”
The second track of 'Horror', ‘Hit It Quit It’, maintains the energetic vibe with ’70s funk rock, bursting into a dark chorus reminiscent of Black Sabbath’s intense strings. The chorus evokes a sense of dread, akin to a Slasher film soundtrack, with the organ creating an ominous atmosphere for the unfortunate characters involved. ‘Baltimore’ allows the intensity of the album to unwind, featuring folky acoustic guitar and solitary keys intertwined with distant jazz-inflected violin, echoing Bartees’ confessional style from his debut album, ‘Live Forever’.
Continuing the fresh feel of ‘Horror’, ‘Lovers’ adopts the style of a late ’90s house track, complete with snare drums and captivating beats. This polished production benefits in part from pop innovator Jack Antonoff, who enhances selections like ‘Too Much’, ‘Sober’, and ‘Wants/Needs’. Antonoff bolsters Bartees’ fundamental work here: the humming on ‘Sober’ is accompanied by soft, minimalistic keys—creating the ideal setting for Bartees’ heartfelt lyrics.
‘Backseat Banton’, a euphoric and nostalgic anthem, stands out as one of ‘Horror’s’ peaks. It juxtaposes its weighty lyrical themes with an upbeat indie-pop feel, culminating in a hopeful message that rises above the anxiety-ridden “horror stories” Bartees faced with his family for survival. ‘Horror’ concludes with a promise of a brighter future—anticipating an inner transformation. Its lingering notes of hope reflect the insights Bartees has discovered through his artistry and the unity he has found within his community.
8/10
Words: Lauren Hague
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‘Horror’ releases this Friday.
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