How do you keep a band interesting after ten years? It’s a question Slow Club’s Charles Watson and Rebecca Taylor must have asked themselves as they started work on their fourth album. From the cute indie-folk of their 2009 debut Yeah So, to the wonky-pop of its follow up Paradise, two years later, to the sophisticated, polished soul of 2014’s Complete Surrender, this is a band that have never stood still, going out of their way to present a new version of themselves on every release, while maintaining the spirit, the warmth and the chemistry that has marked their music since they formed in 2006.
Yet Slow Club 2016 are a very different proposition to the indie duo of a decade ago, who carried makeshift percussion rigs around their native Sheffield in parents’ cars, sang everything in close harmony and wrote from a shared perspective. The pair live in different parts of the country now, and work in very different ways. Charles is in London. Rebecca lives in Margate, throwing herself into the artistic community there. Charles writes obliquely, using short stories and found narratives to transmit his ideas, while Rebecca’s lyrics are starker and more personal, channelling her heartbreak and happiness in a very direct way. How do you bring two distinct styles, two distinct lives, back together and make them feel like the same band?
Apparently, you send them to Richmond, Virginia for a week.
Make no mistake, One Day All Of This Won’t Matter Anymore, the duo’s fourth album, is the best thing Slow Club have ever done – their warmest, their most classic sounding, their most cohesive album yet, smoothing those two disparate approaches with a woozy, late-night, candlelit vibe that softens the pop hooks and makes choruses glow.