Racking up placements all over Spotify’s esteemed playlists, Melbourne duo Slum Sociable’s debut self-titled album revealed that there’s beauty in contradiction. Playing with moody vocals and feathery notes, the album also features some glowing jazz counterparts to even the playing field. The duo draws comparisons to Tame Impala and Animal Collective with their ability to add eclectic texture to a kicked-back indie vibe.
The album opens with delicate piano ballads on “Moby Bryant” and blooms into a funky, rhythmic experiment on “Keep Up With It,” a definite body mover. Sending us off nice and comfortable, “Don’t Come Back Around 100 Times” is smooth and enticing – a melodic finale.
Seeing as we’ve had Slum Sociable on repeat since its Nov. 2017 debut, we consulted the duo for firsthand insight into each song. Check out what the two had to say about the meaning and
making behind their debut album:
The name of this song has nothing to do with the lyrical content. It was just a temporary name for the session we were working on because I think Kobe had just played his final game (thank fucking God). This song originally didn’t have a chorus and was around seven minutes long.
In the demo for this track, the acoustic guitar was originally a 12 string. We did a 24-hour session at Sing Sing studios with our incredible producer Russell Fawcus and laid the acoustic down at like 6am in the morning (sober). About two weeks later we came in to the other studio we were working in and listened to the 12 string takes. They sounded fucking horrible. I remember telling Russ that we should probably just stick to a 6 string acoustic, and the relief in his face was palpable. I think he thought we were attached to the idea of a 12 string guitar, when in reality, we couldn’t have cared less!
I definitely fell asleep in the studio whilst Miller was laying down vocal tracks for this song. I remember waking up to that vocal hook in the intro and being blown away. Not a bad alarm to wake up to.
This was originally another full song that didn’t make the cut, so we sliced our favorite part from it and made it into an instrumental. We sliced in an audio track of Miller shouting “I turned it off…I turned it off!” which was from a session we did maybe two years ago when he nearly blew the speakers up accidentally. Good times.
“Treated Like The Weather”
We had two weeks in between recording and hadn’t finalized an album list. We had an old song that I’d always loved but never really popped like we wanted it to. I remember sitting down with a Prophet 06 synthesizer at my university’s studio for 8 hours and coming out with what was essentially a remix of our old song. Sent it to the label and they instantly replied saying that it needed to be on the album.
The only song of ours with whistling on it! When we spoke to Richard Kingsmill on Triple J he said he expected more whistling on the album, sorry about that!
Our producer Russell Fawcuss actually plays the violin at the start of this track. We were stuck on it for a little while and he told us to come back in a couple of hours whilst he fiddled around with it, and then that intro appeared. Gorgeous.
“I Don’t Wanna Give You Anyth – Any Of It At All”
This interlude was also originally an entire song. We wrote this one along with a few others on a 4-day getaway we took a couple of years ago.
“Hand It Over”
This song’s about learning where you stand in a relationship, doesn’t have to be a romantic one, but it’s important to know whether or not a person is good for you in your life.
“Keep Up With It”
Might be my favorite intro to a song on the record, and definitely one of my favorites to play live. The message in this song is to not give up on yourself after wearing yourself thin time and time again.
We originally wrote this song for Alice Through The Looking Glass but I think we made it too rocky for their liking! I remember on our flight to New York, we listened to and fiddled with the demo version of this song almost the entire time, we were really feeling it.
“Don’t Come Back Another 100 Times”
The film clip to this song is special to me (Miller) because it was born from the brilliant mind of one of my best mates since high school, Jem Rankin!