Slow Club

One Day All of This Won't Matter Any More

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From the opening notes of "Where the Light Gets Lost" it's easy to hear the route that Charles Watson and Rebecca Taylor have taken this time around. In contrast to the retro-soul with modern polish of Complete Surrender -- a style more suited to Taylor's heart-on-sleeve songwriting -- One Day All of This Won't Matter was recorded utilizing a full band. The organic, earthy rumble of Matthew E. White's production style and in-house band results in a heartfelt jam session. Where the more overt hooks are missing, they're replaced with an amicable atmosphere, albeit one that risks sounding defeated in places.

There's a subtle tragedy underlining the tonal changes in Slow Club's output that, if anything, benefits the record greatly. Initially, Watson and Taylor released two twee folk/indie albums, Yeah, So? and Paradise, marking a time when both songwriters were more or less in synch. Complete Surrender, however, saw Taylor developing her stance as a soul who bears all. Some were deterred by the shift away from Watson's storyteller approach, but ultimately the record was more accomplished than the first two. One Day finds the duo at a point in their lives where working together is becoming more of a strain, if only because they lead different lives in different parts of the U.K.

It turns out Matthew E. White -- and his studio in Richmond, Virginia -- was the glue needed to bring them together, allowing them to forget the individual directions pulling at them and instead bring both sets of ideas before the in-house band for a cohesive compromise. To call it a struggle isn't to undermine the process, sometimes it's just a fact of life. The real praise comes from how that struggle -- one that's often associated with change and growth -- comes through so well in the music. The album yearns in the right places and laments where it should, but it also communicates an easygoing understanding of change. The sentiment that everything will be OK is most obvious on lead single "Ancient Rolling Sea," where the chorus quite literally promises "I'll always be by your side," a theme that recurs throughout the record. Some may even draw comparisons to Fleetwood Mac circa Rumours, and Taylor often evokes the spirit of Stevie Nicks, especially on album highlight "Rebecca Casanova," but ultimately, it doesn't feel derivative. On the contrary, Slow Club's metamorphosis feels organic and, more importantly, embraced: this is their record, and the sound you're hearing is Slow Club overcoming their struggles.

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