Send "Slow Club " Ringtones to your Cell 
| Pitchfork |
 Slow Club, a folk-pop duo from Sheffield, England, write great songs for mixtapes. Specifically, the popular ideal of mix-making, i.e., the kind you make to express yourself to another person. As such, their songs tend to be kinda cutesy and obsessed with love and relationships. The world is one in which people are constantly falling in and out of love, and even when their lyrics stray into cynicism and self-deprecation, it's obvious they are true believers in old-school romance. Most of their songs come across like a young person putting up a jaded front to defend their wounded, open heart. It's very sweet stuff, but usually just shy of cloying. Their technique is mature and refined, yet loose and free-wheeling. More than anything, they're wholesome. That could be a damning term for some listeners, but if you're the type of person who does not reflexively recoil at reading the word "cuddle," you're probably going to find something to like in their music.Rebecca Taylor and Charles Watson co-write their songs, and in most cases, sing the songs together. Their voices complement each other nicely but are distinct in tone and personality. Most often, Taylor and Watson sing in unison, and generally avoid making it seem as though they are singing to one another. Whereas many male-female vocal pairings have a communicative quality and/or an apparent subtext of sexual tension, Slow Club have a more neutral dynamic. It's not sexless, but there's seldom an implication that Watson and Taylor are pining for each other. The major exception is the nearly-saccharine opening track "When I Go", which has them making a series of pacts to get married if they're both still alone at various ages. Perhaps putting that song at the top of the running order is in some way meant to have us question their relationship in the subsequent songs....full text |
| Nme |
| The White Stripes? The Kills? Blood Red Shoes? Any list of half-decent duos in recent rock’n’roll history quickly descends into a kind of ‘Er, will this do?’ scrabble for small victories. Not surprising; two is a hard number to make work in a band, without the freedom of a solo artist or the power of a trio. The usual solution is to turn the guitars up and whack the fuck out of the drums in the hope that no-one misses the bass. Well, it worked for Jack and Meg. Sheffield duo Rebecca Taylor and Charles Watson, aka Slow Club,, take the opposite route for their debut album, dishing up a mish-mash of folk, country, skiffle and oh-so-cute indie-pop sounds which are far too delicate to need that nasty masculine bass guitar anyway. It’s an approach which won’t be to everyone’s taste – in fact, there’s a certain type of person who’ll hate it. These people – for argument’s sake we’ll call them ‘idiots’ – will doubtless hurl their favourite four-letter word, ‘twee’, at Slow Club as if it were the cause of all the world’s ills, from climate change to Adam Sandler. As I said, these people are idiots....full text |
| Bbc |
| Sheffield duo Slow Club shun romantic notions: they formed at school. Simple. They use random objects including chairs as percussion because random objects sometimes make a good sound. Also simple. Simplicity is something Charles Watson and Rebecca Taylor clearly aren't afraid of: the backbone of their debut album is a range of uncomplicated ideas executed brilliantly and brazenly by a band of two. A layer of witty and often nonsensical lyrics, and improvised percussive embellishments add the differentiation. Lo and behold, Yeah So is immediately more than one could expect given its authors' unhelpful Nu-Folk tag. Slow Club landed themselves the generic millstone through associations with the likes of Laura Marling and Tilly and the Wall, but the variety on offer here spans rockabilly on It Doesn't Have To Be Beautiful, garage during Giving Up On Love and even a bit of shoegaze with the aptly titled I Was Unconscious, So It Was A Dream....full text |
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