“For the first record I demo’ed everything up and created most of the parts,” says Rateliff. Initial writing and recording sessions for Tearing at the Seams took place in Rodeo, New Mexico where Rateliff & The Night Sweats re-established their dynamic off the stage and in the studio. Vinyl editions include the (2-disc, 180gram) 12-track standard edition and the (2-disc, 180gram) 14-track deluxe edition, which features an exclusive photo book and special 7” single. In addition to the 12-track standard edition, Tearing at the Seams will be available in a 14-track deluxe edition that features two bonus tracks and exclusive photos. The album is available for pre-order beginning today, here.
“ You Worry Me,” the lead single from the new album, is premiering worldwide today-listen to the track here. Tearing at the Seams follows the band’s critically and commercially lauded self-titled debut album, which is certified Gold in the U.S., Belgium, Switzerland and the Netherlands, Platinum in Canada and Silver in the U.K. On March 9, Stax Records will release Tearing at the Seams, the highly anticipated new album from Nathaniel Rateliff & The Night Sweats. The lead single, “You Worry Me,” is premiering worldwide today-you can listen/share the track here. It doesn’t do the simple things right, which isn’t a good sign for a band built on the simple things.Tearing at the Seams, the highly anticipated new album from Nathaniel Rateliff & The Night Sweats, will be released March 9 on Stax Records. 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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