Bartees Strange, 'Horror' (Listening Party)

Summary

Podcast Summary: All Of It with Bartiz Strange on WNYC

Introduction

In this episode of ALL OF IT, hosted by Alison Stewart on WNYC, listener engagement with cultural creators takes center stage. The episode features an in-depth conversation with musician Bartiz Strange about his latest album, "Horror", released on Valentine's Day, February 14. The discussion explores the album's themes, creative process, personal experiences, and collaborative efforts, offering listeners a comprehensive understanding of Strange's artistic journey.

---

Album Overview: "Horror"

Bartiz Strange introduces his new album, "Horror", emphasizing its exploration of various forms of fear and terror. Unlike traditional horror themes involving overt monsters, Strange delves into internal fears and anxieties.

• Alison Stewart [02:23]: "What came first, the album title, Horror, or the songs on the album?"
• Bartiz Strange [02:27]: "The songs on the album."

Strange describes the album as a journey through personal fears, addressing topics such as love, success, relocation, and the high cost of living in New York City.

---

Themes and Inspirations

The album "Horror" juxtaposes chilling concepts with the backdrop of Valentine's Day, blending diverse sounds to create a unique auditory experience. Strange references his songs to specific fears:

• "Baltimore" discusses regional differences and the pressures of urban life.
• "17" reflects on moments of alienation and the persistent feeling of being out of place.

A poignant moment arises when Strange shares the inspiration behind the song "17":

• Bartiz Strange [06:31]: "I'm pulling from many memories across my life. I grew up in a really rural, mostly white part of Southern Oklahoma... it's been the story of my professional life, my now musical life in a way, and definitely the story of my childhood."

This track encapsulates the struggle of identity and belonging, themes that permeate the album.

---

Creative Process and Album Development

Unlike his previous work, "Farm to Table", which was produced rapidly within weeks, "Horror" was meticulously crafted over three years. This extended period allowed Strange to:

• Alison Stewart [03:10]: Discuss the contrast between the two albums.
• Bartiz Strange [03:21]: "I felt like I needed to make something because there was momentum and I needed to keep it going. But with Horror, I was like, I'm gonna take my time."

This approach enabled him to revisit and interpolate elements from his earlier work, creating a seamless bridge between the albums. The careful crafting also led to collaborations with notable producers, enriching the album's soundscape.

---

Personal Background and Influences

Strange delves into his upbringing in Southern Oklahoma, highlighting how it shaped his experiences and music. He discusses the challenge of navigating predominantly white environments and the lasting impact of those early years on his artistry.

• Bartiz Strange [07:22]: "Masked up, you know, like masking and surviving and trying to make people like him... trying to fit in and find a way to be happy in himself."

He reflects on breaking free from these constraints at 29 years old, a pivotal moment that allowed him to embrace his true self and influence his music profoundly.

---

Collaborations and Musical Influences

A significant portion of the conversation centers on Strange's collaboration with Eve and Lawrence Rothman, whom he affectionately refers to as "little freaky weirdos."

• Bartiz Strange [08:55]: "... drum sounds, bass sounds, kind of like the rhythmic foundation for, like, half the record. And I also learned through those sessions that I might be good enough to do most of this on my own."

Later, Strange recounts his encounter with Jack Antonoff, a renowned music producer:

• Bartiz Strange [15:57]: "He was sincere... he was just like, got it. I get it, I'm in."

Antonoff's collaborative spirit and trust empowered Strange to experiment more freely, fostering a sandbox-like creative environment that encouraged spontaneity and innovation.

---

Notable Tracks and Analysis

Throughout the episode, Strange discusses specific tracks, revealing the stories and emotions behind them:

1. "Sober" [01:39]: An interlude from "Farm to Table" reimagined for "Horror," symbolizing continuity between his projects.
2. "17" [06:25]: Explores feelings of racial alienation and the enduring sense of being an outsider.
3. "Lie 95" [11:43]: A road trip anthem capturing the essence of journeying through life and the northeastern corridor.
4. "Wants, Needs" [13:08]: Written during a recording trip to Vermont, the song addresses the evolution of personal desires into essential needs, reflecting the pressures of maintaining a music career.
5. "Backseat Banton" [18:27]: Strange highlights the guitar tone as a standout feature, inviting listeners to appreciate its nuanced production.

Each track serves as a vessel for Strange's personal stories and broader cultural reflections, making the album a tapestry of contemporary experiences.

---

Conclusion and Upcoming Performances

The episode wraps up with information about Strange's upcoming performances in New York City:

• Bowery Ballroom tonight
• Rough Trade on Friday

Strange expresses gratitude for the collaborative experiences and the supportive community that has helped shape "Horror." The conversation emphasizes the album's heartfelt and authentic nature, encouraging listeners to engage deeply with its themes.

• Bartiz Strange [18:34]: "So listen for the guitar tone."
• Alison Stewart [18:34]: "My guest has been Barti Strange. He's out with a new album called Horror..."

Strange thanks Alison Stewart and the ALL OF IT team, reinforcing the interconnectedness of artists and their audiences within the cultural landscape of New York City.

---

Final Thoughts

This episode of ALL OF IT offers a profound exploration of Bartiz Strange's "Horror" album, encapsulating the intricate balance between personal narratives and broader cultural themes. Through thoughtful dialogue and insightful reflections, listeners gain a deeper appreciation of the creative processes and experiences that drive a musician's work.

---

For those interested in experiencing Bartiz Strange's latest work live, consider attending his performances at the Bowery Ballroom and Rough Trade as highlighted in this episode of ALL OF IT.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance.

[Bartiz Strange]

You chose to hit play on this podcast today. Smart Choice. Make another smart choice with Auto Quote.

[Alison Stewart]

Explorer to compare rates for multiple car insurance companies all at once. Try [e-mail] Progressive Casualty Insurance Company and.

[Bartiz Strange]

Affiliates not available in all states or situations.

[Alison Stewart]

Prices vary based on how you buy.

[Ira Flato]

Listener supported WNYC Studios.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. Here's a new song from my next guest, Bartiz Strange.

[Ira Flato]

I did it back then when I saw you you were floating across us you had a whole vibe no good at taught it at the end of the world so when you know, when you know it's right When a day becomes your whole life I'm standing here in between the lines Guess I never had a guid that's why it's hard to be sober.

[Alison Stewart]

That's sober off the new album titled Horror. Horror came out on Valentine's Day. That juxtaposition of ideas plus a musician who likes to blend different sounds equals a really great album. Bartiz also explores many kinds of terror and fear on Horror, Fears about love, success, where to move. On the song Baltimore, he sings Philadelphia always shows love. DC's nice, but the summers are tough. New York City just cost too much. Well, Bartiz Strange is in New York City this week with shows at the Bowery Ballroom and Rough Trade on Friday, and he joins me now for an Olivet listening party. It's really nice to meet you.

[Bartiz Strange]

Yeah, it's great to meet you too. Thanks for having me.

[Alison Stewart]

I love your album.

[Bartiz Strange]

Thank you.

[Alison Stewart]

I don't often say that, but I love your album.

[Bartiz Strange]

Thank you.

[Alison Stewart]

What came first, the album title, Horror, or the songs on the album?

[Bartiz Strange]

The songs on the album.

[Alison Stewart]

So where does Fear fit into the album?

[Bartiz Strange]

Well, the album basically is a journey across all of these little things that I'm scared of just personally in my life, you know. And it's not like monsters under the bed. It's more like the monsters in your head kind of, you know.

[Alison Stewart]

So where were you? Where did you write the songs for Hart?

[Bartiz Strange]

Where? Physically? All over the place. Mostly my house. I live in the dmv, like the DC area now I live in Baltimore. But at the time I started the record, I lived in Falls Church, Virginia. It was like kind of COVID era. I was writing a lot in my basement, and most of the songs kind of came from that.

[Alison Stewart]

Oh, so you really were in your head?

[Bartiz Strange]

Yeah.

[Alison Stewart]

Because you're by yourself.

[Bartiz Strange]

Yeah, yeah.

[Alison Stewart]

Your last album, Farm to Table, it was pretty well received. What did you take from that work that you knew you wanted to put on this record, and what did you just want to part ways with on this record?

[Bartiz Strange]

Well, there were a few things, actually, that I took from that record. A lot of chords. So basically, there are a lot of songs on Horror that are interpolations from songs on Farm to Table. Like, the last song of Farm to Table is the first song of Horror Sober. One of the singles from Horror is actually an interlude on Farm to Table that I chopped and screwed up. So I tried to create this bridge between the records and then the things I wanted to leave behind was the process of how the records were made. So when I made Farm To Table, I made it super fast. It was done in a couple weeks, and I'm lucky the songs were good because they were just fast. And I felt like I needed to make something because there was momentum and I needed to keep it going. But with Horror, I was like, I'm gonna take my time. And I took me, like, three years to finish. And I'm really glad I did because I feel like I love the record a lot more, and I got to really spend time with it and pour all of myself into it. Yeah.

[Alison Stewart]

What. What did you get creatively after. What did you get creatively after being able to go through all that time to work on the record?

[Bartiz Strange]

Well, I got drafts, you know, I was able to do multiple versions of different songs. I was able to bring people in that I wouldn't have met if I did it quick, you know, I Met Jack Antonoff 2 1/2 years into doing the record, you know, and he came in kind of right at the end, and he had huge contributions. It wouldn't have happened if I just banged it out.

[Alison Stewart]

My guest is Bartis Strange. We're talking about his new album, Horror. Let's listen to some more music. This is the song 17. Let's listen and we can talk about it on the other side.

[Ira Flato]

Up on time no standby and I don't even know where I left my phone Weeks turn to months in a minute what do I be on when I'm not home? I'm only 17, mama push a Chevy to the brink counter I'm sweating through the seats down it's hot as hell and I don't see quite where I'm going I'm staring through the ceiling Starting to think that I don't need friends Sometimes I don't know where I belong first time that I felt impending doom was realizing I'm too black for the room, I was pushing it down.

[Alison Stewart]

I was thinking about that line, realizing I'm too black for the room. Are you pulling from a specific memory?

[Bartiz Strange]

I'm pulling from many memories across my life. I grew up in a really rural, mostly white part of Southern Oklahoma. And there's this song is Basically, it's called 17 because it's about all these moments in my adulthood that I felt like I was just 17. And a lot of those moments are when I've walked into a room and I'm like, I'm the only one here again. How do I survive or thrive in this environment? And that's kind of been the story of my professional life, my now musical life in a way, and definitely the story of my childhood. And so, yeah, and that's kind of one of the themes of the song. And in terms of how it relates to the record, it's like one of the horrors I have is like always being in that situation and not wanting to be, you know, and so, yeah, that's kind of what the song's about.

[Alison Stewart]

What was 17 year old Bartiz like.

[Bartiz Strange]

Masked up, you know, like masking and surviving and trying to make people like him, you know, and just trying to fit in and find a way to be happy in himself, but unable to. Didn't really have the tools to. I was a pretty like, intense athlete at the time. I played football, went to college to play football. Really? Yeah. And I never really liked it, you know, I was just good at it. That was kind of how I made friends, you know, so that was just kind of what it was when I was that age.

[Alison Stewart]

And when do you think you found the time to break out, to break through?

[Bartiz Strange]

Probably when I was 29. Yeah. That was when I first realized that I was gonna crack if I kept going the way I was going and, you know, and every couple years I have something happen that makes me like, check myself and it's like, am I really doing what I want to do? Like, am I being like my actual self in this moment? Because my impulse is to mask and do what people would like for me to do, you know, because of my training of growing up. So, you know, that's just like an ongoing struggle in my life.

[Alison Stewart]

Well, continue on gets records like this. The album started in part with sessions with Eve and Lawrence Rothman on your Instagram. You called them little freaky weirdos.

[Bartiz Strange]

Yeah.

[Alison Stewart]

How did the little freaky weirdos help you out?

[Bartiz Strange]

Oh, I mean, so I was in love with Eve Toomer. When I ferred heaven for a tortured Mind and Gospel for a New Century. And I was like, who worked on this record? Because I wanted this, like, crunchy hip hop feeling on rock songs and rock feelings on hip hop songs. And Eve Rothman worked on that record. And I was like, okay, I want to work with him. And he has a brother, Lawrence, who works on a bunch of, like, country records, like Amanda, Pearl Shires and all this cool stuff. And I was like, this is like a cool little duo. And I went to la, and that's kind of like the first couple people I worked on the record with. And I learned so much in those sessions, but the big thing that I got was, like, drum sounds, bass sounds, kind of like the rhythmic foundation for, like, half the record. And I also learned through those sessions that I might be good enough to do most of this on my own, you know, which was something I didn't have the confidence to do. But while I was there, I was like, these guys are just like me. Like, I can do this. And so I went home and kept working. Yeah.

[Alison Stewart]

How often are you surprised when you hear something in a song that you didn't realize was necessarily there until it was a complete song? You say, oh, wow, that sounds like, oh, hit it.

[Bartiz Strange]

Quit it. Definitely. I mean, I remember writing that song, and I was like, oh, my God, it's Parliament. It's Brothers Johnson, you know, it's Sly Stone, you know, which is, like, music I grew up with through my parents. So it was cool for that to just, like, fall out of me.

[Alison Stewart]

That's interesting because you told an interviewer, I think it was CBS maybe, where you said, like, you really had only listened to Christian music when you were young.

[Bartiz Strange]

Yeah.

[Alison Stewart]

How did secular music come into play in your life?

[Bartiz Strange]

Well, so I could only listen to, like, Christian stuff and gospel and. But my, you know, it's a classic thing where it's like, your parents are like, you can't listen to that, but you can listen to, like, Teddy Pendergrass and Marvin Gaye, like, the stuff I grew up with. So I was like, I couldn't listen to, like, Avril Lavigne, but I could listen to Rick James, you know, which is insane. I was like, I can listen to Super Freak, you know, but I can't listen to, like, complicated, you know? So it's like, that was my upbringing. So the biggest rock bands in the world were, like, these black rock bands, you know? But when I went into, like, you know, 14, 15, you start making friends that drive. And that's kind of when I found Get Rich or die tryin by 50 Cent and like a bunch of stuff like that, you know, that I was just completely unaware of. And that kind of changed my world.

[Alison Stewart]

Bartis Strange is out with a new album called Horror. He performs at the Bowery Ballroom tonight and Rough Trade on Friday. He's here now with it with for an all of it listening party. Let's listen to another track. Let's listen to Lie 95.

[Bartiz Strange]

Sitting on.

[Ira Flato]

The floor Legs crossed in both Am I blind or gold or would it even matter? Maybe I could grow know that I won't Am I talking to myself now or would it even. I know you've seen this before why would I fake it? I still picture us in a ghost town 95 quaking I sitting on the floor Mining for a heart of gold.

[Alison Stewart]

Okay, that's the part where you turn up, turn it up in the car, right? What makes a good Road Trip song? Cuz it sounds like a road trip.

[Bartiz Strange]

It is a road trip song about the northeastern corridor. But yeah, I don't know how. How do I. How do you make it? I don't know. I mean there's so many great songs about driving and like travel and kind of mapping that vibe and that theme over one's life, you know. And that's what I was trying to do about a highway that I've traveled for the last 15, 16 years, you know.

[Alison Stewart]

So yeah, the song wants needs. You wrote this on a recording trip to Vermont, Is that true?

[Bartiz Strange]

Yeah.

[Alison Stewart]

Does the place where you write a song, does it affect the song?

[Bartiz Strange]

It affects me. So I guess it does affect the song. You know, it's not. Sometimes I write when I'm at home and I feel comfortable. But then sometimes home can be like a place of stress and like, oh, that's interesting, you know, and I needed to just kind of get out and you know, I was in Vermont with my band and it was something I wrote just kind of sitting on the porch one day. It just had a lot of peace and clarity and was able to write something that I was really feeling in that moment.

[Alison Stewart]

And what were you feeling?

[Bartiz Strange]

Well, it was this weird realization I've grappled with over the last two records where it was like the only thing I wanted in my whole life was to be a musician and to get to tour and make music and never thought it was possible until it happened. And all of my wants became needs. Like I wanted fans, but now I need fans. Like I wanted to sell records, now I really need to sell records, you know, and it changes how you Write when that happens.

[Alison Stewart]

Yeah.

[Bartiz Strange]

And I was just kind of writing a song that's just a pure ask to people that's just like, I need you to, you know, support me so I can keep doing this. You know, it's kind of funny. I think most people think it's a love song, but it's really like a pleading, like, pretty honest moment.

[Alison Stewart]

Come on, fans.

[Bartiz Strange]

Yeah. Like, please stay. You know, don't leave.

[Alison Stewart]

You know, let's listen to wants, needs.

[Ira Flato]

Patience Feet like a glove I'm go. I get scared of a race of. Cause it just seemed on it I know they don't want me to run it Too bad that I'm the one who dies I try to be grateful for living while punching the top of a coffin I still want to live forever But I'm not the one you love I need you when it's.

[Alison Stewart]

That's the latest from Bartis Strange is off the album Horror. Okay. You mentioned Jack Antonoff. Tell me about meeting Jack Antonoff.

[Bartiz Strange]

Yeah, I was playing a festival in D.C. called All Things Go. I was in the, like, lunch area. I call it the cafeteria, but that's not what we've called it since elementary school. We just like the lunch area. And I heard someone say my name, and I turned around and it was Jack. And he was like, I love Farm to table and I love Live Forever. And I was like, is this a joke?

[Alison Stewart]

So freaked you out.

[Bartiz Strange]

I kind of thought he was going to make fun. I thought someone was going to tell a joke. I was like, you don't know who I am. I know you don't know who I am, and you don't have to gas me up. I know you don't know me. But he was sincere, and I was shocked by the sincerity of his comments. I was like, you do not have to be this nice at all. And he was like, well, you know, I'm working on a record. Like, I'd love for you to hear it. And like, I'd love to hear what you're working on. And I was like, what? And, you know, he invited me to his place. I went to his house and we just kicked it. And I showed him my record. And he was like, I love the production. I love this album. The songs are amazing. You don't have to change anything. But if you were going to change it to something like, I think I can help make the, you know, the valleys deeper and the mountains higher. Like, let's add to this. Let's just do another layer. And working with him was just Amazing because he didn't take my songs apart. He didn't rewrite anything. He didn't correct my production choices. He was just like, got it. I get it, I'm in. And it was amazing. I honestly was shocked he took such an interest. And then we kind of just became friends. And I hang out with him from time to time and when he's in la, we get together. If we're both in New York, we get together. It's cool. I'm really grateful.

[Alison Stewart]

What did he bring out in you?

[Bartiz Strange]

Well, I think he is one of the few people I've worked with that I felt like I could really trust and I could be honest and try things without judgment. And he facilitates that in a really unique way. And that is through his. Like, he's coming at it raw, like he's not overthinking anything. He's gonna play a drum part, it's gonna be a little messy. And he'll be like, I don't know, how was that? And you'll be like, I don't know, it's kind of messed up, but kinda cool. And he's like, okay, let's do something else. Like, his energy is like a kid in a sandbox. And that makes you a kid in the sandbox, you know, he doesn't sit down and be like, I'm the producer who knows everything, you know, he's like, what are we gonna. What are you gonna do today? Let's pick up some instruments and play around, you know, it's nice.

[Alison Stewart]

The name of the album is Horror. We're gonna go out on Backseat Banton. What do you want people to listen.

[Bartiz Strange]

For on this song, Backseat Banton? I don't know, the guitar tone's pretty great.

[Alison Stewart]

So listen for the guitar tone. My guest has been Barti Strange. He's out with a new album called Horror. He's gonna be at the Bowery Ballroom tonight. Rough Trade on Friday. It was really great to have you.

[Bartiz Strange]

Yeah, thanks for having me. I appreciate.

[Ira Flato]

I'm a backseat lover now I want to drive in the back of a cutlass Lived a whole nother life Never ran from no other they were dying inside Live a day in another might have lost my.

[Bartiz Strange]

I'm Ira Flato, host of Science Friday. For over 30 years, our team has been reporting high quality news about science, technology and medicine. News you won't get anywhere else. And now that political news is 24 7. Our audience is turning to us to know about the really important stuff in their livescancer. Climate change, genetic engineering, childhood diseases. Our sponsors know the value of science and health news. For more sponsorship information, visit sponsorship.wnyc.org.