Whilst cynics will focus on Slow Club's infinitesimal level of twee and Charles's questionable ability to hold a tune, they would be wrong to do so. Beneath the sweet harmonies and fun folk on offer, there is more to be found. Album opener, `When I Go' is a touching tale about getting older and not wishing to do so alone that contains whistling and lyrics that flirt with cliché but ultimately land on the right side of the fence. That it does so curiously and thematically resembling the Beatles `When I'm 64' is pleasing, if not world beating.
`Giving Up On Love' see Slow Club plug in the acoustic and introduces the merest touch of garage-rock to comparatively rousing effect, and when `I Was Unconscious, It Was A Dream' breaks, it does so with a shoegaze-like drone. Even Radiohead's considered and wilfully artistic piano-driven plodder `Morning Bell' from the Amnesiac album is brought to mind on `There Is No Good Way To Say I'm Leaving You'.
However, it is on the fourth track when Slow Club start to become most at ease entering Rilo Kiley country, in both its senses, to showcase a wildly infectious and simple pop-folk number to recall Emmy The Great's commendable work earlier this year. This alt-country feels is reprised on the enviably finger-plucked `Trophy Room' made entirely their own with a generous serving of original percussion.
A harsh review could say that whilst their preceding EP was excellent, newer tracks either recall those verbatim, or are less substantial in comparison. This shows in that Yeah, So's highlight still comes from that EP. That said, `Dance `Til The Morning Light' would be a credit to any singer-songwriter, a poignant and truthful track charting the ever-popular and inspirational love and loss. It would be a harsh review indeed then to cite indifference towards Yeah, So, despite that title's apparent push in that direction.
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