While Nathan King isn’t totally departing from his original sound in this record, I think that it’s awfully obvious that he’s growing into a more evolved and well-rounded artist than what many of his harsher critics might have anticipated.Īll Eyes on You has one of the most physical master mixes of any country record that I’ve heard outside of Timber’s The Family, which dabbled much more in surrealism and Americana than it did the roots rock that King does here. There’s a poppy varnish to “Just One Night” and “Outskirts In” that I wasn’t expecting to hear, but it fits in with the polished tone of the other songs just fine. “Run It Down,” “Teal” and the title track stick to a fairly conventional script, but I think that it’s worth noting that the substance of their musicality is the antithesis of plastic predictability. He’s utilizing every weapon in his war chest in these tracks, and subsequently producing some magnificent results. King had been toying with a lot of external influences on his last album, and in this most recent recording session, I get the feeling that he wanted to see how far he could push himself as a songwriter. “Last First Kiss,” “Redneck” and the single “I Don’t Drink Like I Used To” are pretty experimental structurally, but I don’t find them to be over the top in their ambitiousness in the slightest. Nathan King is coming for the Nashville throne this year, and he’s dishing out a worthy soundtrack to usher in his arrival. Boasting such supremely smooth ballads as “425,” “Just One Night” and the stirring “Last First Kiss,” All Eyes on You feels like a statement piece from its composer, and its message isn’t clouded at all. We’re not even halfway through 2019, but there’s already been a litany of country music treasures making their way to the forefront of pop culture in both the mainstream and the underground, and this month, Nathan King adds one more to the heap with his all-new LP All Eyes on You.
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