Pop album of the year from a duo who don’t settle for less than perfect
Sibling duo Disclosure have made probably the pop album of the year. Older brother Guy Lawrence talks about their eureka moment on the dancefloor, and working with AlunaGeorge, Eliza Doolittle, Jamie Woon and Ed MacFarlane from Friendly Fires
This is the sound of 2013. Massive slabs of playful, fizzy, infectious, charming, energetic house, garage and pop grooves. Smart- as-hell vocals on top from a gallery of rising names. All of the above signed, sealed and delivered to your feet on the dancefloor or radio station of your choice by two whippersnappers.
The sound of 2013 is the sound of Disclosure, aka the Lawrence brothers. Guy is 22 and Howard is 19; they hail from Redhill in Surrey and their debut album, Settle, is unquestionably the best pop album you’ll hear this year.
Today, Guy Lawrence is sitting on the balcony of his hotel in Ibiza and has every right to sound like the cat who’s got the cream. At each point of their odyssey to date, Disclosure have produced cuts which have not merely chimed with the times we’re in, but have taken the zeitgeist to a brand new place. Be it the scintillating remix of Jessie Ware’s Running or their own Latch or White Noise, Disclosure have a happy knack of making pop music that zings.
In the beginning, though, it was the dancefloor that captivated Guy. He’d head off to clubs such as Digital in Brighton, dance all night and tell his younger brother about his adventures the next day.
“When I was going out to clubs like Digital and hearing people like Joy Orbison and Floating Points and James Blake and Mount Kimbie, it was the freshness that impressed me. It was forward-thinking music, like nothing else I’d ever heard. I had listened to hip-hop and bands and songs but I’d never listened to beats or that instrumental club side of things. When I was out in clubs, it was such fun to lose your mind to the bass.”
Yet the would-be producer knew he didn’t want to make music like the Skream and Benga stuff he was hearing. When Joy Orbison released Hyph Mngo in 2009, though, that changed everything. When he played it to Guy, the Lawrence brothers had their eureka moment.
“It was so fresh,” remembers Guy.
“It was 140bpm and it had a huge sub in it so it was like dubstep. But it also had these amazing chords and samples and the
rhythm was offbeat, funky, like a J Dilla hip-hop beat, and it instantly connected with me. It was the bridge between going out to listen to dance music and actually wanting to get up in the morning and make music like that.”
One key difference between the Lawrences and other producers is that they’re not afraid to fill their tracks with pop hooks and melodies. That, says Guy, is largely down to his younger brother’s fondness for sticking vocals into the mix, but he also wonders if their peers are deliberately steering away from pop.
“I don’t know if it’s a case that they can’t write songs or if they won’t do it,” he says. “We noticed that there was a severe lack of songs in dance music, especially in the kind we wanted to make. Most of the fully-formed songs in dance music are quite cheesy and loud and not very tasteful.”