Cause I won’t let this take control
Ever since Disclosure released their debut album Settle in 2013, the electronic genre has taken a huge step forward and gotten out of the massive hole that had been there for quite some time. The so-called dance music that people had been listening to in years past slowly became more and more “mainstream” (for lack of a better word), and suddenly, Disclosure was like the desperate breath of fresh air that everyone was craving. There are a medley of different sub-genres involved in this brilliant album along with multiple guest collaborators, something that would be impossible to take seriously in a debut album produced by brothers who are barely adults, and yet somehow, they managed to pull it off in such an amazing way.
Guy and Howard Lawrence of English band Disclosure are wunderkinds, a word that I use very rarely (in fact, I have only used it once to describe James Blake), but is incredibly appropriate here. What they have been able to do in the past few short years has been nothing short of remarkable, and have been slowly building up their abilities mysteriously and skillfully. They were known for their exceptional remixes, and soon were producing their very own sounds. When they got a hold of various guest collaborators, everything started to change and suddenly, Disclosure was starting to become more and more well known. Of course, their powerful single “Latch” with the now-superstar vocalist Sam Smith quickly rose to the top of the charts, giving Sam Smith the well-deserved spotlight as well as themselves. Settle is definitely inclusive, filled with varying sounds and influences, making each track seem to take on different personas and lets each song stand on it’s own. “White Noise” with Aluna Francis of the electro-pop band AlunaGeorge marks the 1/4 way point of the album with an added sense of innocence and brightness, and is a good example of the way Disclosure seems to hit all the marks with their instrumentals when it comes to emotion and feeling. Edward Macfarlane from Friendly Fires also collaborates with the brotherly duo with the incredibly addicting song “Defeated No More,” which shows off his sensual vocal ability and makes the song seductive and energetic all at once. It’s almost as if Disclosure knew this, and that they were almost catering to the fans of the colorful indie pop band and captured Macfarlane’s electricity and dynamic sense of quirk. Of course, Disclosure also showcases the magnificent voices of the women in indie music, and from Sasha Keable’s “Voices” to Jessie Ware’s performance in “Confess To Me”, it’s clear that Disclosure wishes to stomp out the idea that men dominate the often times impenetrable arena of electronic/dubstep music, and level out the playing field. There’s also the song “You & Me” with Eliza Doolittle, which was recently brilliantly remixed by none other than one of the other up and coming electronic artists Flume, who also joins the club of incredibly young musicians (seriously, what is going on? The amount of talent in the newer generations really make me excited for the future of music and seriously inspired). The closer is none other than “Help Me Lose My Mind,” which includes London Grammar’s Hannah Reid and her outstandingly gorgeous and passionate vocals as the main focal point. It’s so beautiful and includes some of the most skillful instrumentals I’ve heard in a electronic song in quite some time. It swells and expands in the most perfect places and implements focused drumming and sampled beats to make it such an excellent closer. Overall, Settle proved that Disclosure is quite the contender in the world of music, and it’s obvious that they definitely deserve all the praise they have received and that we’re going to be hearing so much more from them in the near future.