DISCLOSURESettle

In a season in which we’ve already lost our mind in the vintage vision of Moroder’s cosmic disco it is quite strange to find a complete mind-blowing album that mark a sort of new start in the pop side of electronic music.

This is what happens when you first listen to ‘Settle’: you realize that their visions is clear, their attempt to reinterpret various sub-genres such as house, disco, dub step and techno turning them into a brand new pop structure is definitely stunning and in the meantime you’ve already lost yourself in their dance floor without even be aware of when your body started to dance.

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Guy and Howard Lawrence bring us into their own disco ball, hailing us from the doorstep of the main entrance. So we decide to get in, the walls are painted in deep blue and a flash of light run from side to side catching our eyes during every single beat of the long trip they’ve invited us to do. They’re young, incredibly young, both born in the 90’s, but already aware of tons of things.

The Lawrence brothers ask us: How do you stay motivated in the midst of everything that’s going on? How do you build your personal momentum, how do you get in the zone?’ through the voice of a modern hip-hop preacher and at first we all feel like we don’t get where they want to lead us.

‘As much as you like to be in your comfort zone, as much as you like to be stable, as much as you like to control your environment, the reality is that everything changes’ and they start with a fire that burns. In that precise moment we realize that they want us to dance in their church, and we do. All the tracks in the album have a club-anthem halo but since the beginning we can feel Uk garage mixing its beats with some Chicago house tune. The voices of a bunch of London’s newest and finest talent are the hypnotic gems sparkling all across the album. We understand immediately that every single one of them have the chance to shine in their ‘around-4-minutes’ track so much that we have to admit, after only a quick listen to ‘Settle’, that Disclosure‘s touch never missed a beat.

They are young, we love to repeat ourselves over and over about this issue because their contagious simplicity comes exactly from there, the nineties era, when the two brothers were born, and they decided to give us a breath of fresh air with these thirteen hits, all collected in one unique album. The London’s talents we were talking about before are Sam Smith, AlunaGeorge, Eliza Doolittle, Jamie Woon, Jessie Ware, Sasha Keable, Friendly Fires’ Edward Macfarlane and London Grammar. The result is a trippy journey inside disco.

We can recognize lots of different tastes and find infinite references, we could list them all and we would never find peace but in this case it would be something definitely useless. So we simply get lost inside this disco ball dancing to their beat, we finger-click every pulse and we hand-clap repeatedly, we let the bass in and we shyly sing the lyrics we already know. ‘Settle’ smells like London’s city centre, you will ride a sidewalk getting lost in the suburbs and you may feel like you’ll be floating on air, sweating all the tracks in loop and bouncing to the rhythm of their attitude to move fast from minimalist atmosphere to sudden extra bass fallout.

The album will be out this week internationally on Island Records and in the U.S. on Interscope Records and this will be their summer. Prepare yourself to be enchanted by the sweet voice of Eliza Doolittle and by the intensity of London Grammar’s vocalist Hannah Reid in the magical ballad that close the album ‘Help Me Lose my Mind’, dance to the duet between Howard Lawrence and Jessie Ware ‘Confess to Me’, and ride their minimal grooves together with AlunaGeorge in the hit ‘White Noise’. ‘Settle’ is a pure gem, not a hype trick with an overloaded cast, it is a debut album that is already a classic.