Slow Club doesn’t exactly take it easy. Only a year after I Swam Out to Greet You, the duo, consisting of multi-instrumentalists Charles Watson and Rebecca Taylor, is back. Working with American southern-folk producer Mathew E. White, the duo were able to reinvent their catchy slow pop style. Even if nothing really matters, One Day All Of This Won’t Matter Anymore totally does matter.
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Slow Club’s Charles Watson and Rebecca Taylor apparently wanted to migrate their slow pop style to the American South, so they recruited the production skills of Matthew E. White and recorded the album at his Spacebomb Studios in Richmond, Virginia. White and his house band imbue the songs on this record with a deep-fried gothic folk atmosphere, as well as ridiculously tight musicianship of course (all recorded live, no overdubs). It’s a very smooth listen. You would be hard pushed to discern their Southern (Yorkshire) roots.
With their reinvention as alt.country-pop songsmiths with a soulful Americana edge complete, ‘One Day All of This Won’t Matter Any More’ is pure ear candy to these ears. Echoes of classic rock abound.. Some dusty old ghosts hover over this record. Fleetwood Mac’s ‘Rumours’ in particular. Sometimes I’m reminded of Dusty Springfield’s ‘In Memphis’, stylistically if not vocally. Sharing the duties here, both voices settle down well in the mix of pedal steel guitar and hammond organ. Rebecca seems to have rediscovered a smoky sultriness which channels a ‘60s soul siren. Or Joss Stone maybe. Check ‘Give Me Some Peace’, ‘Come on Poet’ and ‘The Jinx’ for examples. The latter track is especially sorrow-soaked and swimming in late-night ambience. Charles, at the very least, could have been in The Magic Numbers. It’s the kind of record you can put on as you prepare your tea, lay the table, sit down to eat and wash up afterwards. Also, at nearly an hour in length it doesn’t feel like it. It’s kinda nice.
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