Slow Club Live In Studio

Within the next few weeks, Slow Club will head over for a tour through Australia, where Charles Watson and Rebecca Taylor have performed before in the past. This time around, though, their drummer Avvon Chambers and bassist Stephen Black will be joining them.

“We’re looking forward to playing all the new songs. We’re kind of only playing two old songs, so it’s all new stuff, really,” said Watson after their in-studio performance for The Left End.

Slow Club began as a duo in Sheffield, England back in 2006. Together, Watson and Taylor created a sound that blends indie, folk, and pop, with Taylor playing various forms of percussion on top of her and Watson’s shared guitar and vocal duties. They’ve released two EP’s and two full-lengths over the years, and currently they are hopping continents on tour and putting together some material for a new release. Taylor joked that the new EP will be a no-rules, no-parents exploration of different sounds and instrumental experimentation.

“So, this EP, we can sound [like] whatever comes out, which is quite enjoyable, really,” Taylor said.

“We’ve got maybe five songs at the moment, but there [are] a few string arrangements that we were gonna put at the end of the album to kind of link some stuff,” said Watson. “We’re gonna redo that and maybe have a big kind of string, instrumental thing as well.”

The first song Slow Club played for The Left End was “Horses Jumping,” which comes from their 2011 full-length album Paradise. The song opened softly and slowly with Watson covering guitar and vocals, and toward the middle, Taylor joined in, easing into vocal harmonies between the two of them. Their in-studio rendition emphasized the sweet poignancy of the song, with lyrics like “Good love is hard to forget when you’re down on your own / Good love is hard to regret when you know it was real.”

Such is the feel of the album in general, as the band veered away from the typical cutesy indie-duo vibe of their first full-length, Yeah So, which was released in 2009. The band cite the shift in style as a result of simply playing music a lot and also trying to emulate the different bands they happen to be listening to at the time.

The two songs following “Horses Jumping” are tracks to be featured on the upcoming EP, which currently has no tentative name. “Everything is New” and “Not Mine to Love” were intriguing glimpses into the band’s future release. On “Everything is New,” Taylor took on drumming duties and provided swooning vocals with Watson, and then she switched over to guitar and lead vocals for “Not Mine to Love,” which had an old-school feel to it.

Watson admitted that, although he and his sisters played violins as children, he’s the only musician to come out of his family.

“I remember having a guitar when I was about ten or eleven, and I used to listen to Oasis on my headphones– I couldn’t actually play the guitar, so I remember just kind of miming. I guess I started playing when I was thirteen,” he said. When it comes to influences for their own music, Watson said he often looks to the classics.

“My dad used to listen to a lot of Leonard Cohen and Van Morrison, and that’s always had quite an effect on me. Whenever I listen to those records, I feel quite nostalgic,” said Watson. The band also list Fleetwood Mac as a big influence in their own music, and although they’ve been named the United Kingdom’s own version of The White Stripes, the band said they’re more like the Fleetwood Mac of this generation, jokingly, laughing at what they called a bold statement.

By Sarah Ruggiero

Photos by Nina Corcoran

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