Folk music has undergone various incarnations though the years and decades. Deviation is part of its’ very definition as “music originating among the common people…spread about, often with considerable variation.” Today, subgenres have emerged, and indie folk-pop is where Slow Club’s “Yeah, So” comfortably fits alongside artists such as Tilly and the Wall and Jenny Lewis.

The two-member band setup, consisting of Rebecca Taylor and Charles Watson, works well for this genre, and the pair does an impeccable job to make sure you don’t miss the bass guitar. A mixture of innocence and misfortune, Slow Club use the pureness of their vocals and percussion in the form of drums, handclaps, stomps, bottle caps, chairs even old-school spoons to create glorious little feel-good ditties and moving ballads. One thing can’t be denied is this duo swirls up more energy than many other multi-member outfits.

The duo strength relies heavily on their vocal talents and ability to harmonize exceptionally well. From the start, “When I Go,” is mostly harmonized vocals in this saccharine treat about getting married by the age of 23. The English twosome gets a bit rowdier on tracks like “Giving Up On Love” which is a clap along, bopping tune that sounds straight from decades gone by. A rockability, hoedown twang comes out on songs, “It Doesn’t Have to be Beautiful,” and “Trophy Room.” Ballads such as  “Apples and Pairs” and “Dance Till The Morning Light” provide lovely contrast and have a Swell Season feel at moments.

While the album lacks consistency and polish, in this case, it adds to the charm. The duo sticks to the folk definition and exemplify hipster heartbreak with simple songs packed with emotion and even a little joy.

Words: Lori Bartlett