The music is receiving early critical acclaim-Rolling Stone declares, “The first single from his forthcoming LP adds Southern-rock bite and weary longing to make for his most urgent song yet,” while Billboard calls them, “The hottest vintage-sounding soul octet in the country.” Q Magazine furthers, “If anything, Tearing at the Seams more accurately captures the feel of Rateliff’s stirring live performances. The record is available for pre-order here.
The track appears on the band’s highly anticipated new album, Tearing at the Seams, out March 9 on Stax Records. “You Worry Me” set Billboard’s chart record for the most Triple A radio spins ever in a single week while reaching #1 at Triple A for the fifth consecutive week and #1 at Americana radio for the sixth consecutive week.Īdditionally, the band will return to “The Tonight Show Starring Jimmy Fallon” for the third time to perform “You Worry Me” on Monday, March 12. Tearing At The Seams will be available on March 9th.ĭirected by Brantley Gutierrez the video features Ethan Embry (Empire Records, Grace and Frankie) and Julia Jones (The Twilight Saga: Breaking Dawn – Part 1, Wind River). I kid of course and “You Worry Me” is taken from the upcoming Nathaniel Rateliff & The Night Sweats album Tearing At The Seams. That’s one step away from waiting for a payphone in a rest stop. It doesn’t do the simple things right, which isn’t a good sign for a band built on the simple things.Life on the road is never easy and at times it is increasingly difficult…especially if you’re reliant on a flip phone. But with poor production, a lack of hooks and little rocking to be found, this project winds up falling short. And it’s not like The Future is a huge step away from the band’s previous albums either. “Baby I Got Your Number” is another confusing track, as it doesn’t seem aware of how creepy it is, and the doo-wop singing in the final third only creates more tonal ambiguity.Īltogether, there’s very little here that works. Vocal improvs and humming are at the heart of this group-they’re the most iconic feature of their biggest song, “S.O.B.” But here, they sound flat and meandering. “Oh, I” should be a slam dunk for this band with its humming and campfire singalong acoustic work, but there’s something just slightly off about Rateliff’s vocals, with unnatural hoarseness. And since the album doesn’t rock as hard as previous releases, the moments where fidelity is thrown out the window and he peaks in the mix, like on the title track and “Survivor,” simply do not work. He deserves the lush harmonies of a great Zac Brown Band song, but outside of “What If I,” the vocal layering and backing vocals lack any impact. He’s certainly got a resonant voice capable of righteous anger and pensive woe, but Cook doesn’t support him with the proper multi-tracking to help sell his warmth. To make matters worse, there are no hooks to be found, and the music isn’t interesting enough to get by on atmosphere or texture alone. While the horns sound natural throughout the album, the guitars are crushed into buzzy fuzz on “I’m on Your Side” and “Survivor,” and they have minimal presence overall. Right from the beginning of “So Put Out,” the kick drum’s echo lasts a little too long to properly create an organic atmosphere. In Cook’s hands, the music loses its warmth, with sounds expanding in an unnatural way. It’s the only moment where the record truly rocks.Ĭonsidering he’s known for his work with Bon Iver and The War on Drugs, Cook is not the man for a band built on lively, classic rock flavor. “Love Me Till I’m Gone” anchors the horns with tense, stress-filled strumming and keys to great effect, and “Love Don’t” is raucous enough to justify Rateliff peaking in the mix. “What If I” features soulful backing vocals, and Rateliff’s anguished vocals aren’t as sloppily mixed as they are elsewhere on the record. The Future has similar levels of excess, but unfortunately, they’re not nearly as well-executed.
It showed that Rateliff and his crew are comfortable with a level of sonic depth and chaos. Tearing at the Seems, the group’s previous album, opened with “Shoe Boot,” their lushest and most off-kilter song to date with layers of brass, organ licks and percussion, with an almost total absence of guitar.
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