Generally speaking, there’s not much that dynamic duo Slow Club could do that I wouldn’t approve of wholeheartedly. In their latest release, One Day All Of This Won’t Matter Anymore, multi-instrumentalists Charles Watson and Rebecca Taylor come together again to create an album that is both thoughtful and intimate. Like their previous work—and in true Slow Club style—this is an album which sees them trying out yet another new sound. Arguably, it has less widespread appeal, and can take a couple of listens before it really takes off.
Regardless, it’s undeniable that they’ve come a long way since their 2009 debut Yeah So, a twee twelve-track indie pop release. In 2011, we were fortunate enough to experience the delights of Paradise, which was as charming as it was nuanced, boasting bright keyboards and staccato guitar. Complete Surrender (2014) saw a shift to soulful rhythms and romantic melodrama. And so here we sit again, with another new sound and an album that is filled with presence and what almost feels like heartbreak.
With the help of producer Matthew E. White and Spacebomb Studios’ house band, Taylor and Watson merge two distinct sounds. Notably, they don’t sing in unison as often this time around, which is perhaps the album’s biggest downfall. In many ways, One Day All Of This Won’t Matter Anymore is a battle between he-said/she-said, with each of the 12 tracks acting as a sort of emotional release for the two singers, who now live in separate parts of the country.
Opening number ‘Where the Light Gets Lost’ gives listeners a pretty good taste of the quality of sound they can expect, with Watson crooning melodically as Taylor fades into the back. The lyrics invoke imagery of the ocean, a recurring theme on the album, as Watson sings, “But I keep on wading out/It’s good enough for now/but which stream can you trust?/I’m sorry I could never answer where the light gets lost.”
Taylor comes to the fore in ‘In Waves’, which was released as a single prior to album release. A return to some of the folkier tunes of Yeah So, Taylor’s soulful vocals blend effortlessly with catchy instrumentals.
‘Rebecca Casanova’ gives a glimpse of the up-tempo rhythms the rest of the album lacks. More of a pop gem than the dirge that comes prior, it’s a song that is both fun and ponderous. In a way that’s similar to Complete Surrender, Taylor laments about love as she sings, “And I don’t wanna be the one you call ‘the girl who brought me down’/and I don’t wanna be guilty of knowing I could have let you out to find her sooner.”
One Day All of This Won’t Matter Anymore is, in many ways, a step away from the upbeat melodies of their older work, though this is not necessarily a bad thing. Instead, it offers uncomplicated insight into some of the perhaps darker emotions that accompany romance. It is sleepy easy listening at its very best.