Disclosure has worked with pretty big names.
With that being said, the brothers assembled a mix of well-known artists with some of whom have yet to be announced.
These include less established up-and-comers, such as Kwabs and Lion Babe.
Are you aware of this English electronic music duo? You’ve probably heard that hit track of theirs that played over and over again on the radio. At first you may not have been fond of it, but you fell victim to its catchy beat. That is not all. This hit song “Latch” features the very talented Sam Smith. This duo is not done with the music industry because that was only the beginning.
See who Disclosure has collaborated with and what is next for them.
Guy and Howard Lawrence, who started making electronic music as Disclosure when they were still in their teens, settled on the genre for the same reason that many teenagers choose their extracurricular activities: They wanted to do what would make them seem cool. The two brothers from the county of Surrey near London, now 24 and 21, respectively, come from a musical family — their father was a guitarist in rock bands in the ‘80s and their mother sang jingles and performed on cruises — but it was the avant-garde music of London clubs in the late ‘00s (Burial, Joy Orbison) that first gave shape to their own artistic ambitions.
“If we were going to write songs together, we were just looking for the freshest way to present them,” Guy, who is clean-shaven and extroverted, told me recently when I visited him and Howard, who is aloof with a scruffy beard, at a tony, high-rise hotel in Manhattan’s Meatpacking District. Both brothers started playing instruments as children — Guy the drums and Howard the bass — and share an easy and quietly intimate bond reminiscent of twins. “I would go to these clubs in the early days of dubstep and it was just the most exciting thing happening at the moment, like nothing you’d ever heard.”
Disclosure’s 2013 debut album, Settle, drew from the astral, moody music of the London underground but pushed it toward the light, using the more immediately gratifying tempos of house music and incorporating pop vocals. The result, a 14-song instant party featuring a catch-a-rising-star roster of vocalists including Jessie Ware, AlunaGeorge, and a then-unknown Sam Smith, made the Lawrence brothers vastly more successful than their heroes, and established them as the babyfaced darlings of an international dance music revival. Settle sold 1.6 million albums worldwide, generated over 300 million streams on Spotify, and was nominated for a Grammy (its biggest single “Latch,” featuring Smith, cracked the top 10 of the Billboard Hot 100 and was certified triple platinum).
You have a rule on your albums that you only work with artists who you can physically get into a studio with, which is not the way that a lot of contemporary music is made. Why is that so important?
Guy Lawrence: Yeah, we don’t ever send beats to anyone. If people want to write a song with us, than we have to meet up. That’s how we do it.
How do you choose who you invite to collaborate?
Howard Lawrence: We don’t just look for people who are good singers, we look for people who are good writers and nice people as well.
Guy: I think he’s got quite a lot now, actually, like 20,000. [Editor’s note: It’s a little over 4,000 as of late August.] But yeah, relatively unknown.
A lot of mainstream electronic music sounds like Settle now. It seems like if you turn on the radio in the U.K., everything is “deep house.” How did you approach following that up?
Guy: We just did what we wanted to, really. When we made the last album, people now look at it and say, ‘Oh yeah, that brought house music back to the radio.’ Especially in the U.K., it brought forward all of these acts.
Howard: That’s the main thing. It’s not like we’re pushing forward the scene.
StreeXB extends special thanks to BuzzFeed for this article. Click here to read the rest and watch a music video.