When you meet Slow Club the first thing you notice about them is how incredibly close they are. It's the kind of symbiotic bond you see between twins or people who've been married for at least half a century. Charles Watson (guitar, vocals, piano) and Rebecca Taylor (drums, vocals, guitar) have been Slow Club for over a decade, which is both a relationship milestone and testimony to their creative tenacity and talent.

It's also strikingly obvious that the duo don't feel the pressure to conform or to pretend to be something they're not. It's all very WYSIWYG with this pair. Perhaps it's their Yorkshire stubbornness, or the confidence of success; maybe they're just not that impressed with anything anymore. Rebecca clearly loves pricking ego balloons and has little time for pretentiousness. Charles is a little more reflective at times but is equally conscious of avoiding taking himself too seriously.

Next month, Slow Club release their fourth album, One Day All of This Won't Matter Anymore, a collection of ten brand new songs recorded at Spacebomb Studios and produced by the master of Southern gothic folk Matthew E. White.

As fortune (and careful planning) would have it, we found ourselves in close proximity to Rebecca and Charles, just before the duo appeared in front of an eager audience at Lost Map's Howlin' Fling festival on the Hebridean isle of Eigg. We nested in a quiet spot around the back of the Ceilidh Hall to chat about what keeps their creative partnership alive, working at Spacebomb studios and why the new record is the most "basic" album they've ever done.

First of all, did you call on Matthew E. White or did he find you?

Charles Watson: I think we asked him, didn't we?

Rebecca Taylor: We asked him. We met him. We liked him. I think he liked us. It all happened very quickly.

CW: We were trying to figure out a way of doing it. Turned out he was in London the week we thought maybe he would be a good person to ask. We met him and he was really cool. It felt quite serendipitous.

RT: (enunciating the words for comic effect) Very serendipitous indeed.

CW: (barely keeping a straight face) We employed a certain amount of serendipity.

Why did you choose him?

RT: 'cos he's AAAWESOME! And his house band agreed to play on the record. We liked the idea of that. His reference points were really similar. It was a shorthand in the lingo. It went a bit quicker, which is what you need from a producer - not spending the first few week trying to understand each other. So that was it, really.

And what were those similar reference points you mentioned?

RT: Fleetwood Mac, Neil Young, Leonard Cohen, Bob Dylan, John Lennon, George Harrison.

I guess those names have always been associated with you.

CW: Oh yeah, it's not a massive departure from the previous record. It's just a bunch of new songs played in a slightly different way. It's actually probably the most basic album we've ever done. It's just bass, drums, guitar and keyboards for every song. The essence of where it's different is in the playing rather than having lots of different things going on like we did in the past, especially on our second record. It's very straight up.

The names, the reference points you've mentioned are all harking back to a certain timeframe. Do you think retro is a good thing?

RT: I think everyone is harking back to something. It's all been done now. All the notes have been played. All the songs have been lyrically addressed. It might be a really shitty way to put it but we met because we liked the same type of music. We both can agree on this golden age of music, I suppose. But we both listen to stuff that isn't retro.

CW: I actually think this year and last year have been amazing for new music. I feel really excited about new stuff.

What are you listening to?

CW: I've really got into the Bill Ryder-Jones record. I think it's incredible. I realise that there are elements of the '90s in what he's doing but he grew up in the '90s and I like that. He's got a really unique voice. I've been to watch more music this year than I have in a long time. The Meilyr Jones record is so good and his band are great. I don't think we ever tried to achieve the retro thing. It's always been more about trying to get to the essence of the record rather than about the aesthetic of it. I think on this record more than anything because of the way other people were playing it. We achieved it a little bit more because it was about a craft rather than trying to do something really quickly. Spending time writing and making the songs.

RT: We've both become better songwriters. The better you are at writing a song, the less stuff you need on it. It was a nice experiment.

But the title of the album, One Day All Of This Won't Matter Anymore has a certain wistful, nostalgic note. Would you agree with that?

RT: (deadpan) Yeah, we're getting on a bit. We're both in the twilight of our lives, sitting back and being whimsical about what's gone on. (switching to a more serious tone) I feel quite nostalgic about our band. It's our whole adult life. We've grown up together. There's some whimsy in that.

CW: A friend of mine was saying the album title is one of those things that you could either see as a really positive, uplifting message or a totally nihilistic message. And I quite like how ambiguous it is 'cos sometimes people go, "It won't matter. EVERYTHING. And EVERYONE". I can't remember who said that. It might even have been Stephen at the studio. He was talking about the nihilistic nature of modern society and I was saying, "I'm not sure it is about that." And he was: "Yeah, it is about that."

R: (laughing) That sounds cool.

What were your intentions for this album? Did you have any?

RT: (deapan) Mega super famous stardom. Loads of money. Guitar-shaped swimming pool. Diving into dollar bills like count Duckula. What about you, Charles, what do you reckon?

CW: I don't think I had any particular ambitions. (Rebecca laughing) The way I see it's just ten more songs two years later. I think we actually tried to do something completely different between albums one and two, and two and three.

RT: (chanting) TEN MORE SONGS! TWO YEARS LATER! Oh my god, it's so good! And it's true!

Was there a contractual obligation? Did you have to produce another album?

RT: No, we wanted to! We were ready to get on with it. The music industry is really strange. You can walk this well-worn path of album every two-and-a-half years, with a six-month build up. Our feet are horribly on the ground, so we were like, "We're ready, let's make it!" I think we'll do the same in the future. Let's just do it when it feels right, rather than trying to calculate a system of doing it at the right time and all that kind of stuff. We've pretty consistently not done things at the right time. Why start now, really?

So you recorded the album in America?

CW: In Richmond, Virginia, where Spacebomb are based. They've got a really cool set up. I guess they're going for Muscle Shoals, Wrecking Crew kind of vibe 'cos Spacebomb band has kind of moved on. It's not always the same people but you get the same kind of thing. They're all jazz trained, so they're coming at it from a different angle from the way we would do it. It was interesting to have an interpretation of our songs.

I understand that you live in different cities now (Charles in London and Rebecca in Margate). How do you work together?

CW: It kind of changes. We've always worked separately at some points and then came together at some points. On the last record, we went to a house for a couple of weeks, sat down and then worked stuff out. And this one's been more separate, then coming in for shorter periods of time and working on certain songs together. I don't think we really have a formula. That's where it still feels there is a little bit of magic in it for us. We never sit down, write a song and finish it.

Do you send stuff to each other?

RT: Yeah, but you can't do it for that long and do the same thing. I mean this album definitely feels like supporting each other's songs. It's really nice. Ten songs is where we are now and that's lovely.

Do you have a favourite song on the album or songs that you listen to most?

CW: I really like a song called 'Come On Poet'. The recording really gets me. It feels a little otherworldly in a sense that we wrote that song and demoed it. It was a very rough idea of where we needed to go. And the people who were in the studio with us just seemed to nail it so, so perfectly. I've never really had an experience like that. Normally you either have an expectation of a song, you do it and it goes disastrously wrong. Then you end up hating it because you had this image of it and it never got realised. Or you have a song where you don't think it's going anywhere and it turns into magic. But that song turned out exactly how it was planned, which never happens.

RT: It's really rare. Probably as satisfying as something can be when you're making music.

Do you sometimes find yourself really frustrated when you're trying to achieve that perfect fusion?

RT: Yeah, we should release all the songs that we never got quite right but we still don't know why.

CW: The not-quite-right B-sides.

RT: There were lots where we were like, "This is gonna be great". Then to everyone else it's great but to me and Charles it's not great. I like how much we've done. We've done a lot of songs. We've had all the experiences. The reason I'm still doing this is the excitement of when we are both sat listening back to something. It is the best feeling ever. Really is.

So you started as a duo, then you doubled in size. What's your current live set up?

CW: We've been doing quite a lot of shows with just the two of us recently. It's been really nice. We did it on our last record. We did a bunch of shows leading up to the album: just acoustic and then playing with the band afterwards. So it depends on the band really.

RT: We're going to get the band back together but this album is easier to play as a two. It's really enjoyable. We've been doing local gigs for years, so it's nice to see us like that. We're doing as much as we can as a two but we enjoy having more players as well. We're set these days. We've got Aidan on the drums since album two. We've had a few bass players but now we've got a pretty steady bass player David Glover. I think they're both still up for it, which is nice 'cos they're our mutual best friends as well. We all have jolly old time! (laughing)

Do you have anything special lined up to celebrate the release of this album?

RT: No.

CW: We do actually.

RT: Oh yeah, we do. (laughing)

CW: We've got a collaboration with Pledge Music where we're doing limited edition runs of certain things; so we're doing a load of letter press prints. Friend of mine runs a print studio. He set the rig up and I printed the prints, so we've got 30 black'n'white and 30 black'n'black prints.

RT: We're doing a tour in October and then we're doing at 3-night residence at Yellow Arch Studios in Sheffield, where we made our third album. Stuff like that. It's nice.


One Day All Of This Won't Matter Anymore is out on Moshi Moshi on 19th August 2016. Pre-order the album here.