Disclosure
Settle [PMR]
For two producers who had no interest in electronic music, and in a recent interview commented that only a few years ago they thought “dance music was all shit”, Guy (22) and Howard (19) Lawrence have set a very high standard for themselves with the string of hits that have preceded their debut album, Settle. Over the last three years, the brothers have fully embraced dance music of the last three decades. Making up for lost time, they have seemingly devoured influences from UK garage to Chicago house and have fused the sounds of their predecessors into a saccharine house-pop, bass heavy sound.
The first single to be released from this LP, Latch, was a rare example of a viral blog hit crossing over to real world sales (of over 300,000), their follow up, White Noise, garnered even greater mainstream success, followed by a single with Eliza Doolittle also charting in the UK and the US. At the same time the brothers completed a sold-out tour of the US and Europe, released a handful of EPs as well as supporting SBTRKT and Hot Chip on their 2012 tours. In the meantime they have managed to set to wax an 18 track debut record.
The album opens with a barrage of outstanding tracks, each blending thoughtfully dissected vocals with syncopated basslines, crystalline electronics and solid, irresistibly danceable grooves. By track five, White Noise, a drop in tempo is welcome, Friendly Fire’s Edward Macfarlane contributes to one of the most interesting new collaborations on the LP with Defeated No More, a sombre, pulsing house ballad. As the album progresses one gets a sense of a tug of war between the two brothers, Howard aiming at creating four-to-the-floor club classics while Guy aims for the charts. When these two paths cross we end up with classics like those that have so far been released as singles as well as moments of genius like “Confess To Me” featuring Jessie Ware and What’s In Your Head taken from The Face EP.
Despite a few surprises, and the tracks that have already been released, the album doesn’t quite live up to expectation and occasionally sags between the hits. Promising collaborations with Sasha Keable, Jamie Woon and London Grammar, while being inches away from being the masterpieces they could have been, end up sounding formulaic, verging on boring. You can’t help but get the impression that these collaborations were rushed and lack the courage of their more considered forerunners. Overall Settle does not quite hit the towering bar the Lawrence brothers set themselves, it is however packed with exceptional tracks and is a serious statement of intent for these budding producers. – Rob McComish
http://www.youtube.com/watch?v=WqH4QpQFfuM
Dean Blunt
The Redeemer [Hippos In Tanks]
Hype Williams continued step back from pranksterism and po-mo reappropriation to a more nuanced approach to experimentation earned them their high watermark with *Black is Beautiful*, their first record to give composition and expression equal value. To these ears, Dean Blunt’s solo LP acts as a parody of the sense of soul at the core of *Black*. A “serious” album, just in case you thought they were getting too serious, which unfortunately comes off like Scott Walker writ small. -Daniel Gray
Altar of Plagues
Teethed Glory and Injury [Candlelight/Profound Lore]
Cork’s own Altar of Plagues return with a third album that builds on the darkly atmospheric black metal of their earlier releases and adds elements of the downbeat electronics and industrial clamour which characterise vocalist James Kelly’s recently established WIFE side project. Though as dense and caustic as their previous work, the shorter track lengths allow a greater variation of ideas and songwriting nuances to emerge over the course of the record. Progressive stuff from one of the finest metal acts in the country. -Ivan Deasy
Various Artists
After Dark II [Italians Do It Better]
A barely audible shutter snap that closes Chromatics’ Camera, here, is testament to how far Johnny Jewel has progressed as a producer since the first edition of the totemic After Dark compilation in 2007. The transition from rough-hewn DIY disco to winch-tight, cinematic pop isn’t the only development here – a newfound variety in songwriting (Symmetry’s hints at hip-hop beats, Twisted Wires’ Germanic vocals) is marred only by Appaloosa’s Kitsuné vintage poking through in the compilation’s most disposable tracks. -DG
Nikki Louder
Golden Men [Moonlee Records]
The third full length from this awfully monikered trio from Slovenia should appeal to those who enjoy the rough hewn charm of early 90s post-hardcore and noise rock, and modern day torchbearers like Pissed Jeans and Silent Front. Nichey for sure, but if, like myself, you happen to be in that niche, you will surely dig this. -ID
