Away from the hype and hyperbole, and the inane “are they/aren’t they” deep-house discussions, Guy and Howard Lawrence have spent the last three years confidently working towards one of 2013’s most accomplished debuts.

Sheened with high-end production, perfectly executed pop sensibilities and upbeat attitude, Disclosure might be indebted to late 90s UK garage and 2-step but those influences, refreshed and revitalised as they are here, make ‘Settle’ effortlessly easy to fall in love with.

A million miles away from the insistent, instant “durr” and wobbling gratification dance pop culture’s succumbed to over the last few years, the musicality and pop tropes that the brothers Lawrence were so intent on creating lend this set a personality and fluidity that underpins its commercial appeal.

Away from the gossamer hooks of the singles, ‘Settle’ is a triumph of pace and pitch: it jacks on the preacher-spirit of ‘When A Fire Starts to Burn’, gets ‘Hot in Herre’ on the sultry, Tiga-bump of ‘F For You’ and shuffles through the garage vibes of ‘You and Me’. Beyond the beats, the rollcall of featured vocalists (Jessie Ware Aluna George, Eliza Doolittle, Ed McFarlane) could have been a cumbersome major label cross to bear but for the most part, they have been navigated with aplomb – as the chartconquering ‘Latch’ and ‘White Noise’ would testify.

So in a period where we’ve reached EDM saturation and electronic music regularly argued, and threatened to eat itself, Disclosure’s retro deference strikes a joyous crisp balance that plays out in the club, in the chart, and in headphones. In the same way Totally Enormous Extinct Dinosaurs and Hot Chip played their own brands of odd, party unity, Disclosure’s might be much more measured but the mantra still feels much the same: just shut up and dance.

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