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There are plenty of selling points, but it is somewhat predictable. There’s verse, chorus, verse, chorus, bridge, chorus, and outro. “I’m gonna leave it all out there to dry / I’m gonna leave it all out there / I’m gonna leave it all out there to dry up / I’m gonna leave it all out there.”Ī few more observations about “You Worry Me.” In regards to form, it’s straightforward. Rateliff is more ‘turned up,’ but maintains relatively cool energy. Still, he’s more poised and tame compared to “S.O.B.” The piano returns in all its glory on memorable chorus. As Rateliff begins singing, he remains soulful. The groove is characterized by a punchy bass ostinato in eighth notes, and chordal guitar riffs.
The piano ostinato is supplanted by a soulful, rock groove. “You Worry Me” initiates spiritedly with a piano ostinato that gradually crescendos. “You Worry Me” serves as the promo single for the set. “I’m alright today / You gonna find a way to cross and you gonna get there / And I’m on fire today / Ain’t no water here to calm or even put me out.” Sigh, soul-oriented rock band Nathaniel Rateliff & The Night Sweats are back! Known for hit “S.O.B.,” the band returns with a new album, Tearing at the Seams (March 9, 2018). Im alright today You gonna find a way to cross and you gonna get there And Im on fire today Aint no water here to calm or even put me out Ill find a. It doesn’t do the simple things right, which isn’t a good sign for a band built on the simple things.Soulful rock collective Nathaniel Rateliff & The Night Sweats returns with “You Worry Me,” the promo single for their highly-anticipated new album, ‘ Tearing at the Seams.’ 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.
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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.
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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.