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Coming on like Sheffield’s very own two-person take on The Commitments, Charles Watson and Rebecca Taylor’s third album sees them loading up the big soul guns for a shot at the mainstream.
On their first LP away from indie Moshi Moshi, Slow Club are now packing a string section and perky brass army, some heavy heartache and, in Colin Elliot, a producer that made his name working with the North’s king of sweeping orchestral sound and greaser-blues, Richard Hawley.
“Well, you just have to be sensitive to what this song is about,” Charles says.
“There’s no point coming in with a huge guitar solo when it’s not appropriate.
“I was there when she did them, we were all there together,” Charles explains.
“I think she’s been listening to a lot of '60s girl groups and I guess that’s kind of seeped in a little bit.” Forming almost a decade ago, Slow Club have a down-to-Earth, quite Northern approach to being in a band.
I suppose it’s about knowing when to play stuff as opposed to when not to play stuff.
And you have to spend more money on them than you do with the actual song.That was something we’d done before and we kind of just wanted to get in there, get it done and get out quickly.” Yet the material isn’t exactly stripped back.