Thread of Disclosure

AlunaGeorge's vocals on "White Noise" still get in the way a bit for me, so instead let's dance to their live remix of "You Used To Hold Me":

https://www.youtube.com/watch?v=sSuDW0xzLCE

White Noise is probably the Disclosure track I've enjoyed most but that's mostly due to that bleepy hook rather than AlunaGeorge. Generally I'm still on the fence, I dunno there's something a bit flimsy about most of what I've heard.

the martial staccato of "latch"'s high-hat is pretty f'in great.. it makes me feel good whenever i hear it

the vocal bothers me on "white noise" but not enough to ruin the song - like matt it's the thing by them that i've really really liked, a lot of their previous singles i enjoyed in a vague sense but without any real spark.

"you used to hold me" cover (as with their artful dodger remix from a few months ago) just reinforces my impression of them as guys with really good taste but not a great deal of point themselves?

"flimsy" is about right. but they're pretty admirable, being teenagers and all.

though i guess it's all good if they're actually getting chart hits now. hmm wonder why it's happening for them where it didn't happen for ill blu, dj q, funkystepz et al

Oh yeah the groove is still ace, that was just my excuse to post something else.

"Flimsy" is one of those descriptors that is accurate but also gets at part of what actually makes them so great.

hmm wonder why it's happening for them where it didn't happen for ill blu, dj q, funkystepz et al

you're not really wondering this are you

that cover is f'n danceable btw

the only thing I've heard by them that I've really loved is their remix of Emeli Sande's "Daddy" (which is apparently blocked by her label in the US. *sigh*)

https://www.youtube.com/watch?v=QTHjmPKk64M

During the intro. to that first Disclosure song (up until he says it's our first fucking show in America) posted on this thread, I was like: what language is this guy speaking?

Which somehow seems appropriate.

My favorite Disclosure track so far is "Flow." Is that really generic? Maybe I am more open to ultra-generic house tracks because it's not a genre I've listened to much and I've been very slowly warming to it over the past few years. I was even shopping for shoes in a department store over the weekend and heard some house and even it sounded good to me. (What could they possibly be playing in Macy's or Sears or wherever I was that would be any good?)

last time I was in Macy's they were playing Active Child lol

the other thing about latch is that it brings the schaffel!

the vocal in "latch" is just a bit much though

you're not really wondering this are you

no, but i don't know the answer anyway

hmmmm, what do funkystepz, ill blu, and dj q all have in common that disclosure do not?

could it be that they're all in their 20s and disclosure are teenagers? no, that can't be it. still working on it.

Oh, that. But honestly, aren't those three artists all doing something newer and more adventuresome as well? I would think Disclosure's sound would be a lot more familiar to an American audience than the approach of those other three acts.

Would most of Disclosure's U.S. audience be that comfortable with funky and with the mix of genres DJ Q plays with?

(But maybe we aren't just talking about crossover outside the U.S.? Is Disclosure bigger in the UK as well? I honestly don't know. Sorry, talking about stuff I don't know about, but it's fun at the moment.)

tbf to the 12-year-old twins their music is pretty pop compared to the others in that list

talking about the times those others have collabed with vocalists

Let's not pretend that the infrastructure behind Disclosure is in any way comparable to any of those artists though. I mean the very idea of Funkystepz releasing a single on Moshi Moshi Records is absurd but still labels like that get traction.

(BRB off to track down that limited edition Champion tune on Fierce Panda).

It's not just about infrastructure. Or race. Though both come into play.

Disclosure are pitching to a much broader audience than Ill Blu, Funkystepz or DJ Q. Also they keep their targets simple and singular.

To use an analogy I may regret later, what characterises/ed all three of the latter acts at their most "pop" is/was a kind of thai cuisine sensibility, a balancing of sweetness / sourness / bounciness / menace / universality / for-the-heads.

While stuff with that feel can cross over in the right circumstances, from a strict commercial return on investment standpoint Disclosure's aesthetic of reproducing-familiar-vibes-with-precision is a much more attractive proposition.

White Noise is the only tune that's felt squarely pitched at a pop audience to me*, although it may turn out to be their Red Alert in that regard. But yeah they're clearly playing a game that the other acts aren't interested in playing.

*It's also simultaneously getting play on Radio 1, 1xtra and 6music and there aren't many records that manage that.

in disclosure's defense I am just now learning they are teenagers in this thread and it may be blowing my mind a little

Disclosure's music is pretty different to Ill Blue or DJ Q. They cross over into your Tensnake house type sets.

i like disclosure but really don't like the alunegeorge song ugh

and i'm someone who adores "latch"

I like Disclosure but I can't help worry what would happen if they lost whatever it is they use to make those pitch-bending sine wave melodies.

i like "white noise", "latch" and an early single called "carnival" but for me the crowning moment for them is still that jessie ware remix

Joe Goddard's mix of "Control" and Dixon's mix of "Boiling" from the Face EP are both really good.

I'm not so keen on the original Control, it feels kind of half-formed, but that Joe Goddard remix is an absolute monster and possibly the best thing he's been involved with.

"You & Me" is insanely good:

https://soundcloud.com/disclosuremusic/you-me-soundcloud-edit

That's pretty great, as usual.

2nd Matt DC on that Goddard remix

01 Intro
02 When a Fire Starts to Burn
03 Latch [ft. Sam Smith]
04 F for You
05 White Noise [ft. AlunaGeorge]
06 Defeated No More [ft. Ed Mac]
07 Stimulation
08 Voices [ft. Sasha Keable]
09 Second Chance
10 Grab Her
11 You & Me [ft. Eliza Doolittle]
12 January [ft. Jamie Woon]
13 Confess to Me [ft. Jessie Ware]
14 Help Me Lose My Mind [ft. London Grammar]

my coffee table aches with anticipation

Bless them for wheeling out poor little Jamie Woon again.

lol ikr

strangely disappointed that london grammar arent the naff uk raphop group i'd instinctively assumed they'd be

Huh, no Control?

this "ed mac" character sounds ominous

I was high on "You & Me" for a couple days.

^would make a good jessie ware lyric

haha

wot, no emeli sandé?

feeling this album a lot more than i expected to - the trackier stuff really works as a counterbalance

weepy version of "latch" that i am surprisingly into

https://www.youtube.com/watch?v=pUK6HlzNWEg

so this is out there and HOLY SHIT

This is a bit too samey for my liking and a lot of it hinges on how strong the guest vocalists are, so it doesn't really pick up until nearer the end and there isn't anything as strong as "Control" or "Boiling". Having a track called "Grab Her" is a bit uncomfortable when it doesn't have any lyrics that expand on those two words.

is there a version out there with all the tracks yet?

Having a track called "Grab Her" is a bit uncomfortable when it doesn't have any lyrics that expand on those two words.

― boxedjoy, Monday, 27 May 2013 10:38 (24 minutes ago) Bookmark

seek therapy

rest of your post otm though i reckon. 'control' and 'boiling' definitely a notch above

lex's "the trackier stuff really works as a counterbalance" is absolutely correct in general, only on first blush this album features the weakest yet examples of this - not just in terms of wider ukg mixes and stuff but of their own bits too, 'lividup', 'whats in your head', 'intention is war', 'tenderly' (wiley and j2k version on this is a good look missed) all previously having had a lot more oomph and contextual vivacity

although i suppose a charitable man could always construe leaning back too far on your full length album as the ne plus ultra of garage homage

it does have the unfortunate and possibly fatal vibe of some forgotten 99-02 promo cd given a spin out of the bargain bin

"Defeated No More" is lovely, like a housier version of the early Vikter Duplaix singles. But nothing else of the new material really jumped out at me on first listen.

The album form isn't really optimal for them, given their primary appeal normally is how much more sparkly and pearly-pert their productions sound than anything else around; running so many together makes it sound too easy and a bit boring.

i agree that's been the case but not to the extent where i've thought the album format was something anywhere near out of their reach either. this was misconceived is all

'defeated no more' is a standout ya. also thought mmjw distinguished himself on 'january'

can't seem to decide on the ware cut, kinda dope kinda cluttery

https://www.youtube.com/watch?v=MacVlup80mc

srsly though this isnt even some big classic or anything but it would've vibesed this album up a treat singlehandedly

gruesome cover art not doing this any favours either it must be said

is there a version out there with all the tracks yet?

― monotony, Monday, 27 May 2013 10:44 (1 hour ago) Bookmark

this is a point though tbf. perhaps 'intro' will be a track so wholly, devastatingly satisfying in every possibly way that the rest of the record will take on a new clarity in lambent post-coital bliss

or just the unadorned vocal sample from the following track

i'll still need to hear it just to be sure

Deluxe edition bonus tracks
15. "Boiling" (featuring Sinéad Harnett)
16. "What's In Your Head"
17. "Tenderly"
18. "Running (Disclosure Remix)"

yeah see this record is p much the gold standard for the "what is album in the modern age" pickle

Intro was one of the best tracks on The xx album so it wasn't beyond the bounds of possibility

Leaning toward cluttery on the ware cut.

Would have preferred her to guest on "my intention is ware"

or just the unadorned vocal sample from the following track

― Number None, Monday, May 27, 2013 4:26 AM (Yesterday) Bookmark Flag Post Permalink

I listened to Zane Lowe debut "When A Fire Starts To Burn" on his show and I can confirm the above to be true, unless he played an exclusive intro to the aforementioned track or something.

lol at them mentioning the piece i wrote for vice that mentioned them in their interview with Dummy this week

lol yes i saw that. tbh that older brother sounds like a dooooouche

i'm just waiting for someone else to post the other cuntroversial disclosure thinkpiece that's ringing out on the e-corner right now

wouldnt want it to look like i have a vendetta or anything y'see

All this stuff appears to have completely confused and wrongfooted a lot of Reynolds disciples/Dissensus types who have been paying zero attention to house music for a decade and have gotten used to treating it as an antiquated backwater.

What's the other one?

Blackdown, but he´s scoffed at just as much, if not more, at Dissensus as over here (not just me either!). Just as well, that was such a dreadful post I wouldn´t want to give it any more attention than it deserves.

It makes me want to like the album more than I do.

this album, whilst still not being particularly demanding of either senses or intellect, seems quite satisfactory for a sunny day with light to medium breeze

think it can go to four stars from three, just about

i think this album's undemanding nature is why i was pleasantly surprised by it - i'd always got a vague and non-specific try-hard vibe off disclosure before but really this album is just very pleasant and unassuming, it's nicely sequenced and peaks in the right way at the right time etc. apart from the ed macfarlane one, he seems to be the token random horrible indie singer for the ed sheeran market

who is the singer on "f for you" and why don't they get a credit?

really like help me lose my mind

presume it's one of the brothers xpost

yeah they sing on that one

nice to see them giving props to Seal by Seal in that Vice piece; the last of the classic run of Trevor Horn albums.

apart from the ed macfarlane one, he seems to be the token random horrible indie singer for the ed sheeran market

― lex pretend, Monday, 3 June 2013 21:06 (23 minutes ago) Bookmark

oh come on you silly sod that is patently the a+ (new) jam of the record and he is only distinguishable as indier than anyone else on there cos u read it somewhere

i don't know who he is! but i don't like his voice at all

then u must surely be going off the name cos there is literally nothing in how his voice sounds to suggest otherwise

and besides, it is far from the boundaries of reason to imagine that even sheeran could be made useful here

Yeah he sounds nothing like an indie singer here (if he is one)! As I said above he really does sound like Vikter Duplaix which is such a good look for Disclosure.

Also re Sheeran, that version of "Could Just Be The Bassline" with him and the female vocalist in duet is still one of the best things.

how did that classic duplaix jam go again, 'looking for indie in all the wrong places' or something

Prefer his later work on 'Mellifluous Milquetoast Journeys Vol. 1' tbh

Good stuff, this album.

quite like the one with mister friendly fires tbh

suggesting that people that listen to that band are the same sort of people that listen to ed sheeran is a little moronic

excited to dig into this album; they're playing central park this year with TNGHT and i think it's something to look forward

I haven't seen them live but expect they'd be ace, their sound is very vibey.

Among other things "Defeated No More" really nails what is so sonically appealing - their love of upfront swingy beats not just an in-itself but also for how the beats provide this really strong framework for the synth work to dance around, chords like solar flares glimpsed through a lense that keeps shuttering and unshuttering.

ohhhhh ed macfarlane is from friendly fires

that explains it

i don't really know what kind of people listen to friendly fires, why would anyone do that

I've decided I hate Latch, especially given its early positioning on the record. The rest of it is great, I like how the trackier stuff holds everything together (Stimulation is a beast) although I wish there was more up there with the peaks of When A Fire Starts To Burn, White Noise and You & Me.

I like the first Friendly Fires album quite a bit, but there's literally nothing on the track here that distinguishes Ed Macfarlane from any other jobbing male house vocalist.

Defeated No More is one of the standouts - I would never have pegged him as someone from an indie band.

The Jessie Ware track is a mess though

By the way ppl are kidding themselves if they think the entire Disclosure project isn't indie as fuck in the first place.

there's literally nothing on the track here that distinguishes Ed Macfarlane from any other jobbing male house vocalist.

his horrible voice? the tone of it is so off-putting

By the way ppl are kidding themselves if they think the entire Disclosure project isn't indie as fuck in the first place.

well this was the pitfall that caused my trepidation and they've mostly avoided it

the only time i ever see the word indie these days is in ilx witch hunts/self-flagellation festivals.

http://en.wikipedia.org/wiki/Japanese_holdout

the only time i ever see the word indie these days is in ilx witch hunts/self-flagellation festivals

Love this kind of fronting.

Polling Songs, Polling Albums at the Same Damn Time (The Tim F 2012 Round-Up)

can i hopelessly attempt to remind you all of #9 on the menu here before this tedious and ignorant canard gets out of hand yet again

i'm really not up to speed w/the conversation around disclosure either, because i've been watching the tennisvery busy. which articles have been getting people annoyed again?

http://en.wikipedia.org/wiki/Japanese_holdout

i can remember the day someone posted this towards me, about 6/7 years ago. i'm so glad i found a boat off that island.

Love this kind of fronting.

it's not fronting if it's based on personal experience.

More nuanced approach is that Disclosure have been fortunate enough to come along (and helped bring along) this precise moment in musical history where several disparate groups of listeners are open to this sort of stuff, in a way that they wouldn't even two or three years ago. It's certainly helped them that they've been bestowed with a kind of baseline credibility from all quarters, that's enabled them to get a leg-up from both Wichita Records and 1xtra, although they were perfectly capable of blowing that and they haven't. It's either a masterpiece of triangulation or they've timed their arrival right on the crest of something.

Yeah the timing's so perfect that all they had to do was not cock the album up.

It's either a masterpiece of triangulation or they've timed their arrival right on the crest of something.

Either that or they keep putting out great track after great track

It's a real head-scratcher

It's not just that, it's that they're putting out great track after great track into possibly the most welcoming environment imaginable.

Right, but it's not some stroke of luck that young dudes are making 2-step influenced garage pop right at the moment when it's back in a big way.. It's like, that's the definition of something being in

Like, so crazy that Joan Baez should have released her first couple of albums right in the middle of a folk resurgence - either it was perfect timing or a strategic masterstroke!

Yeah but how many hundreds of young acts have there been putting records out (and great records at that) even in notionally fashionable genres without getting this level of groundswell. They might not have been making this music if it hadn't been coming back into fashion, but they've still been incredibly lucky with the way the wider pop landscape has changed in the last year, and their label has been incredibly canny in their choice of vocalists and the way they've positioned them.

This isn't even "why aren't they listening to Band X?" handwringing, I'm just acknowledging that the timing is perfect.

Agreed that PMR has a lot to do with this, they are on a tremendous roll

http://i.imgur.com/yX1qMGF.jpg

Didn't hurt that the "Running" remix was probably the hookiest tune this entire movement has ever produced.

Any attempt to attribute all this to PR still has to answer the question I've posed since the beginning: why did people like DJ Q embrace Disclosure and not ofher tasteful post-dubstep types? I have an answer to that obv but it you disagree then you need to come up with your own.

is the question of PR comparing disclosure to tastestep post-bass whatevia types, or to eg funkystepz and ill blu?

when i've interviewed rudimental at various types it's been really oddly notable how keen they are to distance themselves from uk funky - there's this unspoken assumption that it was a failed scene, even though a lot of the elements that made it great are present in the current wave - albeit in much more high streety terms but ALSO in terms of PR. when i talk about certain acts benefiting from great PR a lot of the time it really is just based on knowing who handles their PR.

is the question of PR comparing disclosure to tastestep post-bass whatevia types, or to eg funkystepz and ill blu?

Well, the comparisons have different (though connecting) issues at play, in this context I meant the former. PR has certainly made a difference to the scale of Disclosure's ultimate success but there are pretty straightforward reasons why Disclosure have done much better than other tastesteps post-bass whatevia types even though (i.e the truth is because) they underwhelm yer blackdowns and jimitheexploders.

It's actually rather more extreme in Rudimental's case, though equivocally so: the question "why has Rudimental succeeded where uk funky failed" can seem like an intriguing story of how a combination of PR and nuanced but ultimately semantic stylistic repackaging efforts can afford a stunning extreme makeover transformation, if one studiously ignores the fact that all their actual hits to date have been pop drum & bass.

Hence it's interesting to think about precisely where Rudimental would be today in success terms if their current style was limited to, like, "Spoons" and "Baby" and the like.

damn, when a fire starts to burn!

http://pitchfork.com/reviews/albums/18091-disclosure-settle/

https://twitter.com/ryanpitchfork/status/341949873928671232

im not really a pitchfork hater but this makes me like the DP album even more

even i think that's a dumb false binary o_0

lbr tho the daft punk album sucks and should never be spoken of again

even i think that's a dumb false binary o_0

― lex pretend, Tuesday, June 4, 2013 6:57 PM (5 minutes ago) Bookmark Flag Post Permalink

lol lex.

nah i like it a lot. idk if its better than disclosure but its such a funny pfork thing to do to compare them like that

it makes sense that in p4k's world the only two dance albums that matter are the heavily PRed crossover-bait ones

It's no accident Disclosure got higher marks than Daft Punk

good to know the review wasn't written by accident. really reassures me that someone didn't slip and fall on a computer and create a few ephemeral paragraphs with their subsequently bruised face.

In recent years, dance music's growing mainstream prominence has led to a number of excellent debuts: SBTRKT and Holy Ghost!'s self-titled efforts, Classixx's Hanging Gardens, Totally Enormous Extinct Dinosaurs' Trouble, and Katy B's On a Mission, to name a few. These records gained notice for recontextualizing the sounds of dance's various sub-genres-- disco, dubstep, house, and more-- into pop-leaning structures.

A little curious about how many people reading this are gonna agree that all of those albums mentioned are really excellent. Double figures maybe?

And no point reading the rest of the review with such a badly set out stall as that second sentence.

LP is 7/10 at best - decent potential tho. Being British they can pack in loads of British guest singers and ride the hypewagon in the most obvious way primarily on that basis. Which is frustrating but at least they'll sell more records than any of the aforementioned except maybe Katy B in the process.

i'm actually getting tempted to read this abominable review

"they beat totally enormous extinct dinosaurs!"
"well you haven't heard the last of them"

Props to @lfitzmaurice for the killer review.

he should give the review a score.

i've been aggressively PRed totally enormous extinct dinosaurs for several years now but i absolutely REFUSE to listen to them because of their fucking name

i actually think that is seriously damaging their career - a friend of mine listened by accident on beats in space and liked them in the end but said the same thing, and that's how i feel on it too.

people say their music doesn't sound like you'd think it would from the name, and it doesn't, but it doesn't necessarily make me think they should be called something else either.

to clarify, i don't like them but avoided them for ages due to the name. they just sounded like kind of plastic meandering tech house to me, not as twee as the name suggests.

Any attempt to attribute all this to PR still has to answer the question I've posed since the beginning: why did people like DJ Q embrace Disclosure and not ofher tasteful post-dubstep types? I have an answer to that obv but it you disagree then you need to come up with your own.

This strikes me as a weird place to even start from, like I've never thought of Disclosure as "tasteful post-dubstep types" at all, even the early stuff. They're obviously more pop, more plasticky, they just fit better on a basic kinetic/rhythmic level with yr other interzone bubblers. If anything I'd be more inclined to group them closer to Bashmore or T. Williams or someone, they're obviously more pop than both but in the current climate and with the right vocalist I wouldn't rule out either of them having a massive hit either.

FWIW I don't think PR is the sole reason for Disclosure's success *at all*, they're obviously building up from ground level as well. But it's still quite an achievement to be right in the zone of 1xtra, Resident Advisor, NME/6music and probably the next few Now! albums all at the same time. One that can't just be explained away by "they put out loads of great records".

(I mean obviously Daft Punk are right in the middle of that venn diagram as well but they're global superstars not teenagers on their first record)

They're not more pop-leaning than Bashmore tho, based on his work with Jessie.

Getting the right vocalists might be a thing but...well, how are Sam Smith and AlunaGeorge the right vocalists exactly? Both far more annoying than MacFarlane! Not enough to stop me liking all Disclosure singles so far tho (including You & Me).

This strikes me as a weird place to even start from, like I've never thought of Disclosure as "tasteful post-dubstep types" at all, even the early stuff. They're obviously more pop, more plasticky, they just fit better on a basic kinetic/rhythmic level with yr other interzone bubblers.

I think this seems clear now (and is what I've said all along) but is not at all what a lot of people were saying 12 months ago.

i like this album a lot but the totally universal acclaim for it is kind of weird to me. just weird that you see people flipping out over a record so unanimously in a genre that people don't pay tons of attention to. (is it the channel orange of garage? you can tase me now.)

i would almost like to read an argument about why this isn't that great, not that i would necessarily agree with it

then again if lex and matt dc and rtc all agree on something...

9.1!

Well, it's not great because at least third of the songs are okay at best.

oh it doesn't seem universally acclaimed at all, soooooo many people really seem to hate it

also is anyone really heralding it as amazing? i think matt, tim, rtc and i are all tossing 7/10ish sentiments its way rather than, like, AOTY. it's definitely got its flaws

i don't get why americans really care about it (maybe this is where PR comes in?). british dance acts don't normally get anywhere like this US hype

credit our English overlords.

lol at devastating capsule in The Independent
http://www.independent.co.uk/arts-entertainment/music/reviews/album-review-disclosure-settle-pmr-8638502.html

shoulda run it with a photo of several clubbed baby seals with the disclosure faces drawn over them

"in which regard, only Jamie Woon delivers here"

"Clearly, the form has receded drastically since the era when the likes of The Chemical Brothers brought playful invention to the dancefloor; now, it appears to have been reduced to simply a checklist of familiar sounds and effects, harnessed to the dullest beats imaginable"

the likes of the Chemical Brothers

it is a form of sorts, coffee table dance music. not that i'm defending it, it's prehistoric stuff.

funny thing is i'm really quite okay with lukewarm reviews of this until the reviewer shows his hand regarding what he thinks is vital in comparison

exactly

ooh can we play this game can we

what i think is vital by comparison is prob all the black butter (and...black buttery) stuff - like i don't think there's a song, or vocalist, or production here as strong as eg gorgon city's "real" or lulu james' "closer" or sinead harnett's "got me" (or rudimental's housier stuff obv)

and also i think the new ikonika album is amazing and better but i'll keep a lid on that for now

I find the Rudimental album a lot rushier and more enjoyable than this but I can see myself playing Settle more from start to finish, if only because it doesn't set off the Sande gag reflex at any point.

Also for real Andy Gill is the worst music journalist getting a regular broadsheet gig, and that's no mean feat given the Graun's New Band of the Day guy exists.

https://twitter.com/tombreihan/status/341980572593315841

hah Matt did you know that emily sandé is now on a remix of "bitch don't kill my vibe"?? sorry WHUT??? i'm afraid to open the door to the living room now, i think she might be in there

I COSIGN JULIANNE GOING HULK SMASH ON THAT PERSON

Album review: Disclosure, Settle (PMR)
ANDY GILL FRIDAY 31 MAY 2013

https://www.youtube.com/watch?v=1vPonjXOfYo

the fantasia album was my personal "ok is emeli sandé in my wardrobe as well" moment. like if she's even popping up on my struggle&b albums that i can't get anyone to care about

hah Matt did you know that emily sandé is now on a remix of "bitch don't kill my vibe"?? sorry WHUT???

Okay she does have a sense of humour after all.

So that Tom Breihan review now rivals the pfork one for opening two sentence dumbness.

xp haha v good

every so often i remember that lady gaga was meant to be on the original "bitch don't kill my vibe" and i think about how things could have been talked about differently

The Sande track is one of the few decent songs on the new wiley album.

― oppet, Tuesday, 30 April 2013 11:30 (1 month ago) Bookmark Flag Post Permalink

this is correct

This album is prompting a lot of music critics to flaunt their ignorance w/r/t UK Garage. Please send all further reviews to me for settling.

In any event the indisputably correct answer to the question "what is the greatest single-artist UK Garage album of all time?" (assuming So Solid Crew don't count) is Sunship's Is This Real.

1998 on the realness, bitches.

Wookie's LP not exactly inferior to this either but usual apples/oranges caveat applies because fuck thinking of this as a garage album ever.

Not as silly as giving serious thought to Remedy as a candidate.

wondering if a lot of the reason american music critics are taking to this is because it's a smaller, more crafted antidote to the other electronic music being pushed on them by these very same publicists -- the harder-bigger-dumber stuff that dominates your electric [insert noun here] carnivals and unpleasant outdoor bars

and not to throw shade but in my class i teach kids to not compare individual records to genres on which they might not have a total handle

(i gave it 4/5 btw, it's one of this week's v good records but not as good as qotsa)

artful dodger album def better than this

(that sentence got a bit garbled but you know what i mean)

I was thinking the same thing Maura. The album is less whelming for listeners already immersed in all the similar/related stuff in the UK; in isolation I think its sound would seem quite startling and distinct and compelling.

Also btw the Craig David debut isn't even the correct answer to the question "what is the best r&b album to flirt with uk garage?" The answer to which is the mis-teeq debut.

and not to throw shade but in my class i teach kids to not compare individual records to genres on which they might not have a total handle

man Maura god bless you -- generational lessons

did i already throw up a holy shit, fire starts to burn? cause that's fun!

everybody is wayyyyyyyyyyyyyyyyyyyyy overthinking this, which is what happens when you take an album of 5/5 No. 1 singles and 3.75/5 not-singles and turn it into a referendum

you get white noise.
just like, white noise.

they frame it with such disdain

I'm hearing a lot of static in these reviews.

They're like an automa'ic.

got me washed out, washed out custos drained.

'voices' is my shit. something very luomo about it...

maura and katherine otm

Dj Bok Bok ‏@bok_bok 1min
disclosure on rinse talkin about how floating points and joy o showed them about garage

havent read the thread but this is p boring

https://www.youtube.com/watch?v=IFCbfIIunj0

hey they were on jools bellend last night

they were in radio 1/1xtra today, doing need u 100% among others:

http://www.bbc.co.uk/events/emc8q9/acts/ajh38g

"Latch" still rules

http://passionweiss.com/2013/06/04/dont-settle-for-disclosure/

Over breakfast, this sounded like shopping-for-pants music.

I thought you were eating breakfast.

Laptop open, sitting in boxers, shopping for pants, bowl of cereal, etc. It was like brunch at Banana Republic.

funny thing is i'm really quite okay with lukewarm reviews of this until the reviewer shows his hand regarding what he thinks is vital in comparison

― r|t|c, Tuesday, June 4, 2013 8:37 PM (Yesterday) Bookmark Flag Post Permalink

re: the canadian blog

every so often i remember that lady gaga was meant to be on the original "bitch don't kill my vibe" and i think about how things could have been talked about differently

― lex pretend, Tuesday, June 4, 2013 5:21 PM (Yesterday) Bookmark Flag Post Permalink

i still wanna hear "partynauseous"

"Settle’s success reinforces this kind of middle of the road innocuousness as something to strive for and once a style of music heads down that path, its days are numbered."

This is like reading someone 20 years ago who's cross about jungle being rebranded drum'n'bass. Purists complaining about "beige" versions of dance music (surprised to see no mention of coffee tables in this review) always sing the same tune. Smooth, catchy crossover albums are inevitable in every genre this side of happy hardcore and they don't kill a style, they just offer another avenue. Drum'n'bass produced a slew of boring albums full of "jazzy" sophistication and kept on going anyway.

re reviewers getting stuck in completely framing this as garage record, i think these words by sherburne are key

They've also helped revive the effervescent vibes of U.K. garage — electronic music's last great pop-crossover moment, back around the turn of the millennium — without getting bogged down in the kind of retro genuflections and secret handshakes that confine so many of their peers to the trainspotters' ghetto.

Disclosure's swinging, skipping grooves may pay homage to artists like MJ Cole and Artful Dodger, but you don't need to be schooled in subgenre minutiae to appreciate them; they're likely to connect with casual listeners who don't even know how to pronounce "U.K. garage" (it's "gehr-edge," in case you were wondering).

that first sentence is exactly it imo, it's totally garage in spirit but quite obviously is not anywhere near being a garage record.

but that's sorta obvious anyway. the interplay that's sorta interesting to me is that philip is right that disclosure don't get bogged down in trying to be too cool. like, in interviews they're all "yeah we got into club music thank to joy orbison, we had no idea what we were doing when we started making music" which is kind of a posture i'm sure and i imagine they've absorbed a lot more since then, but it's not been that long of a time. why their music sounds the way it does given their professed progression as dance listeners is fascinating to me because they're the opposite of a lot of DJs & producers who show their asses in interviews by being super on-message about what kind of music they "should" be into.

so it's sort of funny to me that reviews have made mincemeat of this record trying to pull apart all the influences, grounding it so thoroughly in garage and then getting swallowed by this ball of yarn. because it's not a record made by producers who themselves play spot-the-influence like so many do. i mean, it's the job of the reviewer to try and figure that shit out for the reader but i'm not sure if a lot of rock writers are used to writing about dance or bass music that isn't, like, "hey a brandy sample! *secret handshake*" which is sort of what philip was talking about.

it's "gehr-edge," in case you were wondering

um

i'm just repeating "gehr-edge. gehr-edge. gehr-edge" to myself now trying to figure out how or why or what

that's how you guys sound to us

https://www.youtube.com/watch?v=nUtKcWl_76g

^ geir-edge

disclosure don't get bogged down in trying to be too cool. like, in interviews they're all "yeah we got into club music thank to joy orbison

nb this is DEFINITELY trying to be too cool

It's "garridge" innit?

i was just gonna say, how would an american pronounce "garridge", which has been the accepted phonetic spelling since forever

guh-rawzh

also don't you have the indie garage genre which is pronounced in exactly the same way

yeah americans say guh-rodge

It is fun saying "gehr-edge" though. "Hehrv you heard this new gehr-edge ehrlbum?"

nb this is DEFINITELY trying to be too cool

― lex pretend, Wednesday, June 5, 2013 1:41 PM (4 minutes ago) Bookmark

ha i mean, in 2009 maybe. but now?

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSL7u7aWHeXoY5f2aYds_t2bi1Oo8vn7-9WWObMELwB8STKqmQN

Homer: Hmm. I wonder why he's so eager to go to the garage?
Moe Szyslak: The "garage"? Hey fellas, the "garage"! Well, ooh la di da, Mr. French Man.
Homer: Well what do you call it?
Moe Szyslak: A car hole!

Real CarHole Music in 2013

disclosure don't get bogged down in trying to be too cool. like, in interviews they're all "yeah we got into club music thank to joy orbison

nb this is DEFINITELY trying to be too cool

disagree -- if you're namedropping people from the last few years as your entry into club music, you BETTER BE GOOD for anyone to take you seriously. if anything, it tells me how good they actually are (assuming it's true) -- Disclosure's best stuff sounds so effortlessly great, however they're approaching it, it seems like they have some innate understanding of how to make great dance tracks

yeah americans say guh-rodge

― J0rdan S., Wednesday, June 5, 2013 10:45 AM Bookmark

west coast americans say "grodge"

I haven't gotten around to their album yet but I don't really get these guys. I feel like they triangulate a lot of stuff I go for (current UK pop-house, old school 2-step, post-dubstep, DJ Q/Funkystepz and etc.) but they leave me really cold somehow.

west coast americans say "grodgewhat, no valet?"

Album sounding great this morning.

I think when critics talk a lot about "uk garage" what they're actually responding to in the music is the strong sense of intentionality behind the programmed rhythms (which for the most part are pretty straight, albeit delectably arranged - but certainly straight enough to be US garage by and large, "you and me" and maybe "stimulation" excepted). Disclosure take seriously the question of when and how a snare or hi-hat should sound, and while this is hardly unique to them I think maybe some listeners are now unused to hearing that in the context of grooves that aren't othereise flaunting their anti-house syncopation, as if there's nothing in the space between Burial and David Guetta.

did hear them on the radio saying 'stimulation' was deliberately intended as their overt homage to garage. unfortunately they pronounced it home-adj...

herm-erge

"Stimulation" seems like a pretty clear speed garage rip, yeah - but consequently the point of difference is really the bassline rather than the percussion.

Hehm-edge

I heard When The Fire Starts To Burn on er 6music this morning (h8 that it's the bf's radio stn of choice) and weirdly in that context and remembering the Chem Bros mention, it reminded me a bit of a Block Rockin Beats for the current moment

Good point

It's a perfect "right everyone we're going in" opener.

interesting piece from local Manc blog Harder Better Faster, on an 'unplugged' Disclosure gig. they just replied too which is very decent of them.

"We left the fucking plug on the floor on purpose, didnt even plug phono leads into the master out, turned all the EQs fully down and the master out AND DIDNT EVEN TAKE HEADPHONES for god sake!!"

http://www.harderbloggerfaster.com/2013/06/disclosure-unplugged-cheating-fans-or-just-part-of-the-music-industry/

OMG I can't believe the Capital FM Summertime Ball wasn't fully live.

#1 album this week though, kudos.

Motivational speakers. :(

I get it: motivational SPEAKERS.

Seriously too much of this sample.

I really cannot figure out what I think of Sam Smith's voice. But there is a little bit of the cilantro effect: let me keep trying it to see if I like it, which more than half the time means I come out pro-.

I always think White Noise is not that good, but end up thinking it is that good.

(Love the glottal stop too.)

I finally listened to this and eh

Slipping into the background for a couple songs because I'm focusing on other things, but in the background in a good way. Voices just pulled me back though. I don't think I've heard this one before and it stands out. Oh fuck no Spotify don't lose the connection now.

FACT mentioned the "glottal stop" in their review which i thought was lol

Grab Her! annoys me (entirely predictably). I already liked You & Me.

x-post:

I think I saw someone complaining about the glottal stop (possibly an ILXor on or off ILX).

It's weird how much more I'm enjoying house/dance in general lately. But there have always been some elements in house that I liked, and it just seems like I'm hearing more house that happens to include the ingredients I like. It seems like a good moment to be feeling open to crossover dance stuff though.

"You & Me" IS insanely good!

in the background in a good way

^

FINALLY hearing this, basically got 30 seconds into "When A Fire Starts To Burn" and decided I was completely and totally in love

This is doing nothing for me. Sorry, folks.

There is a snap to the percussion that I feel is missing from 95% of the modern dance music I hear and is instrumental in why I feel like I can't fully get on board with a good chunk of it.

Right? And it starts to spread? Dan gonna bring that attitude home.

I kind of feel like their percussion is a big part of why I can't get with them. There's no tension in it to me, I've never been drawn in by their actual beats.

I'm not sure about this as a 'great' album or anything, but it worked really good as a soundtrack for painting a room.

I know it's several months old and everyone loves it to the point of possibly being a bit tired of it but the moment in White Noise when the dinky synth hook is recycled as a motoring acid bassline is just the absolute best.

What I like on Settle I mostly really like, but it doesn't work that well for me as an album because I skip the Intro/Amway Rally and Grab Her.

grab her sounds like homework era daft punk
not much on this i don't like; it's holding up well

http://www.factmag.com/2013/06/24/disclosure-and-azealia-banks-a-match-made-in-heaven/

dear god no

thank god that SEO-optimized urls also mean that i never have to waste clicks anymore

that url is terrible for seo

anyway i feel pretty good about this actually, the amateurishness of azealia's beats has always kinda gnawed at me so i'm down with this

you guys are missing this picture though
http://factmag-images.s3.amazonaws.com/wp-content/uploads/2013/06/azealia-6.24.2013.jpg

I like most of the beats Az. Banks uses more than I like Disclosure but then I've never been averse to amateurishness in dance music.

the rev comes correct

yeah i don't know why this is surprising when azealia has already worked with lone, machinedrum and (supposedly) bauuer

no one said it was surprising, I just wish she would stop fucking up perfectly good instrumentals

huh. i always throught this was a thread where ppl disclosed things about themselves. i see now it is not.

take that to the thread of disclosures thread

I always think White Noise is not that good, but end up thinking it is that good.

― _Rudipherous_, Saturday, June 15, 2013 2:21 AM (3 weeks ago) Bookmark Flag Post Permalink"

it's really great but the vocals are awful as are all of the vocals i've heard from the tracks i've heard so far. they made jamie woon sound like he can't sing very well which is pretty good going. they do have some good hooks though. i hadn't heard or heard of this until this week but i've looked at the thread title many times and thought the same as what Treeship just said.

not much on this i don't like; it's holding up well
― i didn't even give much of a fuck that you were mod (forksclovetofu), Thursday, June 20

I feel kind of aggy about people liking them so much.

Hi Lex

Not sure when I've used any lexian arguments against them but ok.

Haha no just the last one, though feel free to expand beyond not liking the beats if you can be bov'd.

I just wanted to mention that I don't think whatever ambivalence I have about "White Noise" has anything to do with the vocals (but I'm not sure what it is about). Actually, not sure there is any more ambivalence at this point.

the rudimental album is really coming into its own in this weather - previously had thought it was a high highs/boring lows thing but the whole thing just slots together really well when your windows are flung open

the disclosure album is...not, i really thought it'd be more...earwormy than it is. sorta forgettable tbh, and "when a fire starts to burn" got annoying super-quick

Yeah I don't really understand thinking "When A Fire Starts To Burn" is a highlight.

oh it was a highlight for me at first! just grew off me really fast

"f is for you" > "when a fire starts to burn"

We should really have a 'Thread of Rudimental' to right this historical wrong, that album is way better.

It should be called 'A Rudimental Thread'.

The Rudimental album doesn't appear to be on US Spotify; anywhere else legal I might find it?

We should really have a 'Thread of Rudimental' to right this historical wrong, that album is way better.

― Matt DC, Thursday, July 11, 2013 9:36 AM (9 hours ago) Bookmark

yes yes yes

the word i would use to describe the disclosure album is 'thin' (and i think it's intentional!)

I was gonna say "vaporous"

"disclosed"

haha

I describe the Disclosure album as "my type of shit"

the bits I've heard of Rudimental are also "my type of shit" tho

DJP: http://youtu.be/M97vR2V4vTs

i think lex described the rudimental album as recalling the delirium of kish kash, which was also my exact same reaction before I read lex's piece! crazy

o man now i'm curious, read some dissensus brownshirt types elsewhere bemoaning disclosure as 'basement jaxx all over again' and i thought 'if only!'.

If I were to make a cackhanded parallel then yeah I'd say Rudimental were the Basement Jaxx to Disclosure's Artful Dodger. It's not quite as good as any of the first three Jaxx albums (too much Emeli Sande) but it's not shamed by the comparisons. Good Luck being the most obvious touchpoint here - about half of it is big soul choruses attached to boshing pop drum and bass which is such a brilliantly obvious approach that you can't quite believe people haven't been having #1 hits with it for 20 years.

Their vocal house stuff is great too and they've built a cottage industry of vocalists and producers underneath them (any Disclosure fan who who doesn't also have the Duke Dumont thread bookmarked is doing themselves a disservice). I dunno, they're as significant as Disclosure to the current UK pop landscape, possibly more so given they're rocking two number one singles to Disclosure's zero (two and a half if you include the John Newman single).

both the albums suffered the same problem for me, the impact lessened by already knowing the best tracks so well. i haven't been arsed to listen to either of them much all the way through. gonna bang them back-to-back today and compare properly, but my initial reaction was basically: 'Settle' - too samey, 'Home' too all over the place. really I'm loathe to knock either of them though.

I'm definitely enjoying the pop dnb much more now, I really hated Feel the Love when it came out.

also anything with Sinead Harnett on it is ace, really starting to feel 'Hide' from the Rudimental album now.

Yeah I found Feel The Love kind of corny at first but completely undeniable now. Danny Boyle wants blacklisting for not including it at the end of the opening ceremony.

Yeah, it's unforgiveable, all those years of careful planning and organisation rendered invalid by not including a month-old single.

ideologically i give the rudimental album all my blessings but in practice i tend not to fancy sticking the pop dnb stuff on in my own time and leaving it to irl circumstance - lol ir old. (altho for some reason i don't mind personal engagement with the grislier trashy brostep side of pop dnb - 'refuse to love' > 'feel the love'). i always remember, couple of months ago i was in a pound shop when 'waiting all night' happened to come on and this little 6yo lady there went absolutely ham having a mini rave to herself before her harassed mum collared her to be dragged off

the deep cuts abide though - 'spoons', peerless 'baby', aforementioned 'hide' (drop is like ahhhh), revelatory 'feel the love' dub vip, the corny poignance of having an abstract social commentary soundtrack called 'alien bashment'. and in fairness sandé has never and will never sound better than here

probably wouldnt want to pursue a t/s with disclosure too doggedly tbh, i mean i get it but there's too much nuance steamrollered in caricature

Yeah 'Baby' is the really amazing one, and the one I keep hearing booming out of cars. I've never really got into 'Spoons', there's something gloopy about the vocal melody that doesn't really appeal to me.

Kinda looking forward to a Syron solo career btw, could be a Katy B-style trajectory there if she plays it right.

Haha OF COURSE she went to the Brit school.

I'd almost forgotten about the Brit school! It was practically compulsory a few years ago.

"baby" sounds even better now than it did a few months ago, it really is THE one

They're still cranking them out - Katy B went there, so did Ella Eyre of 'Waiting All Night' fame.

gosh, who'd a thunk daisy tullulah syron-russell was a brit school grad

i like her but black butter don't seem to be doing her any favours getting new ones off the conveyor belt at the same time

http://soundcloud.com/annie-mac-presents/free-music-monday-syron-here

this was a goodun btw

bloody hell even marsha ambrosius went there

Rudimental have the edge over Disclosure live, as well - Ella & Sinead both amazing, and bonus points for seguing from "Hell Could Freeze" into a live version of the Skream remix.

...but the band who remind me most of Basement Jaxx on stage are actually Clean Bandit. It's something to do with their odd mix of guest vocalists.

I've never really got into 'Spoons', there's something gloopy about the vocal melody that doesn't really appeal to me.

― Matt DC, Friday, 12 July 2013 12:17 (1 hour ago) Bookmark

yeah ikwym, i think of it more as a charming c90 kitchen sink postpunk playlet ditty than any sort of real ballad

i love how both "spoons" and "baby" are structured as real duets, each singer getting a full verse in the spotlight before fully intertwining in the chorus (see also nicki's "gun shot")

when i interviewed them i said something about how i thought "spoons" was a great title because a) spoons as instrumentation duh, b) a couple spooning, and it turned out that one of them had always assumed it was a) and another always assumed it was b)

also "waiting all night" >>>>> "feel the love"

and as far as summer jams that are ubiquitous in the wild go, it's hands down 2013's winner

"baby" also had a rather charming video! was it secretly a single after all?

https://www.youtube.com/watch?v=tveH9jg1FRA

That video for "Waiting All Night", wau

"baby" is truly the best song. the absolute best.

i still much prefer the disclosure album though. the maximalist dnb stuff on the rudimental album is a biiiit extra.

where dayo, i guess, hears thinness, i hear space and air and lushness.

I recently saw a Rudimental video from a couple years back and it was shot in Philadelphia. Do they have any sort of connection to Philly? Maybe it was just the particular people they worked with (I can track down exactly what the track was if anyone's interested).

(Oh, you were just talking about it: "Feel The Love" ft. John Newman.)

https://www.youtube.com/watch?v=VPcYhxbJ8F0

lol zero shame

good tho

wait, is this a completely different group/artist or a Disclosure pseudonym

I wonder what inspired Sub Focus to switch away from drum & bass, oh wait

fuckin w/ or not?

https://www.youtube.com/watch?v=KsU189WyU68

i like this song... you can sing the chorus of "suit & tie" over the little guitar riff though

btw this gets much better if you don't watch the lyric video

very prince=y

Unlike just about every song I've heard involving Sam Smith, this one doesn't leave me feeling ambivalent or outright negative about his vocals. I think his sound works here.

Jesus Christ, I haven't even heard that and I can already tell it's the most 2013 record imaginable.

xp: (But the suggestion not to watch the lyrics is a good one.)

non-video approach works as well; this is lovely
https://soundcloud.com/methodrecords/sam-smith-x-nile-rodgers-x

Is there any doubt that Settle could have been a lot better if certain tracks were replaced by some of the EP material that didn't make it? I think Disclosure does deserve enthusiastic recognition, so it's a shame the album doesn't quite cut it.

man this thing sounds synthesized just for me

my coffee table aches with anticipation

― r|t|c, Tuesday, April 30, 2013 11:18 AM (7 months ago) Bookmark Flag Post Permalink

Bless them for wheeling out poor little Jamie Woon again.

― Matt DC, Tuesday, April 30, 2013 11:25 AM (7 months ago) Bookmark Flag Post Permalink

this "ed mac" character sounds ominous

― flamenco drop (lex pretend), Tuesday, April 30, 2013 11:52 AM (7 months ago) Bookmark

^^ i think of these three posts literally every single time i listen to this album

ahaha i just found out the lyrics to white noise are "you spin me round like a knot" and not "you spin me round like a top" wtf

Maybe they are into Lacan?

unless every single lyric site has it wrong which is v possible

wait, how do you hear "top"

(my initial mondegreen was "you spin me 'round like an art," which IMO is better

idk "knot" and "top" sound kinda similar. it's a very literal interpretation.

DJ Premier's "Latch" remix is kinda disappointing: https://soundcloud.com/pmrrecords/disclosure-latch-dj-premier

wow i love that

https://www.youtube.com/watch?v=n0FOPTYJPXw

v nice

that's a jam.

omg this was already my favourite track off the album and MJB just made it about ten times better.

fucking awesome

i have a real dislike for their pseudo nagel line art imagery tho'

Dude! But when the dude's checked shirt started glowing and bleeping like a sequencer? That was the most amazing visual I've seen in a video all year.

putting mary j. blige on the track where one of the disclosure guys is singing is such colossal hubris that it wraps around and becomes humble/awesome

certified smash

i was fairly surprised the og version got to 20 in the charts on its own, but this

wait, how did it take this long after MJB's hits dried up for her to end up on an honest to god house track?

i need ten times more MJB on this, she sounds amazing over house beats and rev otm how did it take her so long

this is tremendous

"family affair" is arguably the first step towards house-dom, the tempo's almost high enough

Nb. The Moto Blanco remix of "Be Without You" is probably the biggest - certainly most enduring - gay club hit of the last whenever.

This is fabulous btw.

hmmm, maybe i'm missing something, i thought this was pleasant but not as great as it could have been?

it seemed kind of...strangely incongrous that the disclosure kids sing this knotty "i've been infected with restless whispers and cheats" line and then all mary gets to sing is "you are so beautiful!" "you make everything alright!" like, it's good but i want some "hateration, holleration'"-level vocabulary

holleratin'**, excuse me

obv "just fine" isn't house but as uptempo song it was great + successful

"Family Affair" is classic but it really has nothing to do with house whatsoever.

other than the fact that it can be mixed into it! which goes a long way with me.

Seriously though:

https://www.youtube.com/watch?v=lXyF4VelzY4

lol what am i talking about? family affair not even close to house tempo. i think i honestly had a dream once where it was. and i wanted it so badly to be true.

https://pbs.twimg.com/media/Be-6wU1CQAAMzti.jpg

i really appreciate them doing this step (MJB as full-on house diva is obv what she should be doing 100% of the time) but i feel like it's a missed opportunity for greatness - like it's fine but...just fine. could've been amazing

I held out against Disclosure for a long time, on some weird basis of them being too backward looking or something. I have recently realised I was being a contrary idiot and they are actually excellent.

They work very hard on both being accessible and on creating a very detailed and immersive sound world, which is extremely admirable.

the one with the earring is definitely gay right?

ha what gave you that idea? (and no)

idk just... some looks

Into this but also feels incomplete since I'm used to their songs featuring an actual vocal guest, not just vocal samples: https://soundcloud.com/disclosuremusic/the-mechanism

I have never heard of this Friend Within though.

I heard latch today on the philly pop radio station with the dj giving it a big push

This was inbetween timber and get lucky btw

!

it's at 59 on the hot 100 right now

Is that an even longer gap than "Lights"?

"latch" is officially a top 40 hit in the US

sam smith's voice is on like 71895748254 songs on the radio right now

very weird-sounding voice but i guess he's going to be the male Adele anyway. "Latch" and the goofy Naughty Boy song are at least better than his solo single that has the same melody as "I Won't Back Down."

Latch being the US hit and not White Noise honestly baffles me

america loves drops

mary j blige track def top 20 in ilm 77 2014

I'm going to fill my '14 ballot with sooo many two-year-old tracks.

that version of the song is from the year of our lord 2k14

*screams*

https://scontent-b-sea.xx.fbcdn.net/hphotos-xpa1/t1.0-9/10522024_801154703251457_7283914576461004902_n.jpg

is that usher

Yes, that is Mr. Raymond.

*cautiously excited*

it would be a lame if it's just another remix

a

I'd be into them remixing "Good Kisser".

ding ding ding

https://soundcloud.com/disclosuremusic/usher-good-kisser-disclosure-remix

should've been the original tbh

kinda meh imo; adds very little
not a big fan of the original tho

yeah it's not great or anything but it works much better than the original imo which isn't very good at all

The original is great. This is alright but not quite as good.

i like the original, this is just okay

og "good kisser" is totally fucking awesome

this is fine

Love the original, love the remix.

hhttp://www.youtube.com/watch?v=zznKafngPUI&feature=youtu.be

Another team up with MJB:

https://www.youtube.com/watch?v=zznKafngPUI&feature=youtu.be

It's gone now. But was it this? https://www.youtube.com/watch?v=s6wJirn_dVY

Ooooh . . .
https://www.youtube.com/watch?v=F0fEgerNz0Q

i swear, mary will have released every song before the album drops. Wonder how well that's gonna play.

New song: https://soundcloud.com/disclosuremusic/bang-that

Not a new single nor necessarily from the new album as they seemed to say on R1, but I love this, didn't expect something like this, expected something more poppy like Latch Part 2 or whatever

http://thump.vice.com/en_uk/article/the-wild-story-behind-the-unlikely-sample-on-disclosures-new-record

is it just me or was that story not fully wild?

rly dope song though

You know what, I like "Omen".

good innit.

at first spin i thought it was weak and sounded like they had pressed a button on an automatic disclosure/sam smith single machine. then i played it 6 times in a row on my commute home and it has stuck. absolutely bothers me that i am enjoying anything related to sam smith - find him so boring and virginal. jimmy napes is his saving grace.

yeah this is good -- sounds like "defeated no more"

Another new track, I like this one a lot as well

https://www.youtube.com/watch?v=1wc3RtxGftA

The best so far (and Latch-ier than the Sam Smith one). Can't stop playing it.

all the new stuff feels super stale. zeitgeist done changed, not strikingly so but as prior paragon princes it's enough to scuttle them

bashmore's mix of 'holding on' is dope tho - m/l shows the path not taken, splitting the difference between 'bang that' outlier venting and the dead ballad template

i'd suggest to investors that it could be a good time to wheel it back to 06/07 and buy up stocks in karizma as ppl get bored of regular ouse rhythms and kaytranda/soulection type herbdom grows on the low

Writing sell side broker analyst reports about dance music trends is basically my fantasy career.

I haven't been feeling any of the new tracks tbh. "Omen" sounded like a good idea, but possibly I'm just so tired of hearing Sam Smith's voice at this point that I can't even take it in a Disclosure context anymore. I dunno, hoping it all ends up sounding better to me when I hear the full album.

I'm not very zeitgeisty but I am also finding it difficult to get excited about any of these new Disclosure songs, though I do like the latest a bit more than the previous two.

Writing sell side broker analyst reports about dance music trends is basically my fantasy career.

― Tim F, Friday, 14 August 2015 15:58 Bookmark

hehe funnily enough iirc what first ever gave me the impetus was actually martin clark on dissens once saying it's certainly not what music appreciation should be like and me thinking yep love it keeping that

That just makes me endorse it all the more.

It, like, ALL sounds like "Latch."

So "Bang That" isn't on the album? That's the only new track I like!

http://gawker.com/is-disclosure-a-victim-of-its-own-good-taste-1733745303

I liked the new album a lot better when I realized they were fans of Kerri Chandler tbh.

Weird that this is one of only two references to soulection on ilx

seems target played a henry wu track on his 1xtra show this week, remarkably ('midtour' him at his most nu-bruk)

meanwhile annie mac's two hottest records of the week in a row recently were black coffee 'we dance again' and champion x four tet 'flipside' (vintage funky relick, see also the ace new katy b). that mele 'ambience' has probably got something to do with it too

i'm gonna make you rich bud fox

the first half of the new record is really good, early 00s basement jaxx vibes

It's pretty banging. "Ecstasy" probably better than anything on the album proper though.

i was just thinking about these guys yesterday, randomly. i still get annoyed when i remember how they slagged off shanks & bigfoot.

Not really feeling this :(

definitely a few jams on this

someone should have told me about "My High", this is my shit

btw “Ecstasy” is on the deluxe version of the album

posted this in another thread but the mj cole remix of "birthday" is so sublime

very good album. growing on me for sure. i wish more EDM in 2020 sounded like this.

"My High" rules pretty hard

Ces n'est pas for me. That song rips and exhibits production and arrangement perfection.

i really like this as a whole for sure. it'll probably place in my 10 or 15 for the year. idk why but a lot of if reminds me of post-blackout britney spears.

i feel like if any random "pop artist with stans" had released this exact album it would probably have its own thread by now.

it's pretty good and they have good instincts on how to pair their guests and beats. Birthday is prob my fave track.

love this one

https://www.youtube.com/watch?v=c1zN-sEUc68