It’s seldom that your generic music player begs for mercy, but having had Disclosure’s magnificent debut album on literally constant rotation for the last week, there’s a plea having been entered for iClemency… which I’m going to have to refuse.
The alarmingly young Lawrence brothers have been an increasingly popular presence on the dance scene since 2010, when they emerged from East London with an innate understanding of the dynamics of house music and the low-end power of drum and bass.
Their obvious talent has led them to work with some big names in the last three years, among them Everything Everything, Emile Sande and Janet Jackson, for whom they provided remixes, as well as creating their own tracks which have been met by great acclaim, and in recent months, high chart placings heretofore unknown to most dance acts.
That success is an illustration of how well Disclosure construct their music for maximum floor-filling potential and crossover appeal.
It’s a record that calls back to the best moments of house music in the last 20 years while making something fresh and vital.
Equally important to its success is the sublime way that the tracks are sequenced – harking back to a time when acts paid attention to the way that one track followed another to maintain a vibe or create a unified whole of a record that made it an event, as opposed to a collection of filler around some slightly better tracks, as many albums released these days seem to be.
Coming so close on the heels of Daft Punk’s latest release, you can draw a clear delineation. Random Access Memories is Guy-Man and Thomas’ love letter to 70s dance and disco, but Disclosure’s debut is a declaration that has its sights set firmly on the future, and that is what makes it so inspired and inspiring.
The sublime You And Me featuring Eliza Doolittle, the chart conquering White Noise with Aluna George, and the shiny Latch with Sam Smith are examples of what Disclosure do best — remarkable productions with genuine ebb and flow, strong vocal lines and melodies and basslines to kill for.
But these lead tracks are only a small part of the story – the remainder of an almost perfect hour of music is, if you’ll forgive the pun, entrancing, a masterclass in house music mixed with grime and garage tropes creating something utterly fresh.
Come the end-of-year lists, Settle will be marked out as one of the best albums of the year, without question.
It’s ability to transcend its genre, dropping tracks that will appeal equally to pop fans and dance heads alike will make it ubiquitoucity. Disclosure capture the sound of the city in summer, the sound of summer nights, and the sound of things to come.