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Slow Club|Yeah, So?

Yeah, So?

Slow Club

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Like a cross between the Raveonettes and the Juno soundtrack, Slow Club's debut bounces between bubblegum pop and soft, quirky folk music. “If you came back as the deep sea, I would come back as the salt,” Charles Watson and Rebecca Taylor sing during “It Doesn’t Have to Be Beautiful, Unless It's Beautiful,” effectively summing up the album’s ideology in one line. Yeah So is stuffed to the brim with love songs -- some happy, some sad -- and the songwriters frame each one appropriately, either ratcheting up the intimacy with acoustic arrangements or cranking the volume for something more celebratory. There’s a hint of Phil Spector in the faster tracks, whose boy/girl harmonies and booming, reverb-coated percussion help mask the fact that Watson and Taylor only play one instrument apiece. “Our Most Brilliant Friends” and “It Doesn’t Have to Be Beautiful” are the bounciest of the bunch, both played with an energetic, ramshackle attack that’s almost borderline punk. Where Slow Club differentiates itself from other bubbly pop groups, though, is in the slower numbers, which comprise at least 50 percent of the disc. Here, Watson fingerplucks his way through guitar arpeggios and Taylor limits her percussion to the occasional hi-hat or kick drum stomp, while a handful of quirkier sounds -- a theremin in “Apples and Pairs,” a shoegaze guitar solo in “I Was Unconscious, It Was a Dream,” an underwater piano in “Sorry About the Doom” -- remind us that the guys aren’t taking themselves too seriously.
© Andrew Leahey /TiVo

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Yeah, So?

Slow Club

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1
When I Go
00:03:07

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

2
Giving up on Love
00:02:51

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

3
I Was Unconscious, It Was a Dream
00:03:35

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

4
It Doesn't Have to Be Beautiful, Unless It's Beautiful
00:03:45

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

5
There Is No Good Way to Say I'm Leaving You
00:03:47

Copyright Control, MusicPublisher - Baxter Dury, Producer - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

6
Trophy Room
00:03:36

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

7
Because We're Dead
00:02:52

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

8
Dance 'Til the Morning Light
00:04:06

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

9
Sorry About the Doom
00:02:18

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

10
Come on Youth
00:04:01

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

11
Apples and Pairs
00:03:43

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

12
Our Most Brilliant Friends / Boys on Their Birthdays (Hidden Track)
00:10:06

Copyright Control, MusicPublisher - Charlie Watson, Composer, Lyricist - Slow Club, Producer, Artist, MainArtist - Rebecca Taylor, Composer, Lyricist

2009 Moshi Moshi Records 2009 Moshi Moshi Records, Licensed To Cooperative Music

Albumbeschreibung

Like a cross between the Raveonettes and the Juno soundtrack, Slow Club's debut bounces between bubblegum pop and soft, quirky folk music. “If you came back as the deep sea, I would come back as the salt,” Charles Watson and Rebecca Taylor sing during “It Doesn’t Have to Be Beautiful, Unless It's Beautiful,” effectively summing up the album’s ideology in one line. Yeah So is stuffed to the brim with love songs -- some happy, some sad -- and the songwriters frame each one appropriately, either ratcheting up the intimacy with acoustic arrangements or cranking the volume for something more celebratory. There’s a hint of Phil Spector in the faster tracks, whose boy/girl harmonies and booming, reverb-coated percussion help mask the fact that Watson and Taylor only play one instrument apiece. “Our Most Brilliant Friends” and “It Doesn’t Have to Be Beautiful” are the bounciest of the bunch, both played with an energetic, ramshackle attack that’s almost borderline punk. Where Slow Club differentiates itself from other bubbly pop groups, though, is in the slower numbers, which comprise at least 50 percent of the disc. Here, Watson fingerplucks his way through guitar arpeggios and Taylor limits her percussion to the occasional hi-hat or kick drum stomp, while a handful of quirkier sounds -- a theremin in “Apples and Pairs,” a shoegaze guitar solo in “I Was Unconscious, It Was a Dream,” an underwater piano in “Sorry About the Doom” -- remind us that the guys aren’t taking themselves too seriously.
© Andrew Leahey /TiVo

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