It’s almost three years since Slow Club released their second album, Paradise.
On it, the Sheffield duo - Rebecca Taylor and Charles Watson - made a giant leap forward from their playful 2009 debut, Yeah So. Gone was the puppyish energy and naval-gazing that characterised that first record, and in came a more serious, brooding kind of introspection and maturity to their music.
Now they’re about to unveil their third album Complete Surrender, and it isanother giant leap on, with giant arrangements.
Despite the big-sounding songs, the duo say it was actually the easiest album they’ve made so far, partly down to having such a clear idea of how they wanted it to sound before they even attempted recording.
“We demoed everything before we went to the studio,” says Taylor, “so there wasn’t a lot to work out when we got there. We had this ethos that everything had to be simple, direct and beautiful, so we just kept that in mind at all times.”
The ease of making Complete Surrender was also partly down to producer Colin Elliot. His speedy, efficient work also left Taylor no time to get impatient, as she says she’s in the habit of doing. “Given what the album is about, it’s amazing it sounds so relaxed.”
Taylor’s songs on Complete Surrenderall detail a particularly nasty break-up the previous year. As a result, her songsfeature no small amount of bitterness, regret and bleak sadness.
Pleasingly, by the time of the album’s penultimate songthose feelings have been replaced by acceptance, joy and all the things she can accomplish if she puts her mind to it.
“Some of the songs on this album, in the past, I would have felt silly singing,” she says. “But we’ve let ourselves go there, production-wise and lyrically.”