DISCLOSURE FLUME REMIX FULL

DISCLOSURE FLUME REMIX FULL

We’d love to write a song with them.’ Sam came to our dad’s auction house in Surrey where we were living at the time-we had this horrible attic studio that was full of cobwebs and didn’t have running water. Jimmy was managed by the same management as us and he also owned a studio, so we were friends with him for that! He played us a couple of tunes that Sam and him had written and we were like, ‘Oh, sounds amazing. “We wrote this with Jimmy Napes and Sam Smith. So it seemed like a fitting place to start the record.” I think if you wanted to explain to someone the kind of stuff we do, you’d play this. It’s got all the classic Disclosure sounds. “We wanted to put this up front because I think it contains all our signature moves. We wrote some chords over it and did some atmospheric-y stuff and it ended up being this, as well as the intro for our live shows for quite a long time.” I was like, ‘I’m just going to find someone who has the tone of voice I’m looking for and sample it, chop it up and make it sound like he’s rapping.’ I did my best to do that and that ended up being ‘When a Fire Starts to Burn,’ but after I created that, we thought there was so much gold in what Eric Thomas, the guy I sampled, was saying that we might as well try to use more of it and make it a feature of the record. We wanted to work with rappers, but the area where we grew up, although there are rappers there, they’re not good. “At that time, if we weren’t listening to dance music, we were listening to J Dilla or really good hip-hop. It felt very surreal, a bit like watching it from the outside.” Looking back here, Howard makes more sense of it in this track-by-track guide.

We were just trying to make the best music we could make. We were just fortunate to get there without really meaning to. It came so quickly without much striving for. “It was a pinch-yourself moment, because it was something we’d never even considered or thought of aiming for. “It seemed too good to be true,” says Howard. So imagine their surprise when they found huge success at the first attempt.

Having grown up in a musical family in Reigate, Surrey, the Lawrence brothers had been warned about how difficult it was to get a break in the music industry.

We picked up a bit of speed with the Jessie Ware remix we did but we didn’t think Settle was going to take it to another level like it did.” “To us, that was still amazing and we were super excited about it. “We’re talking 10,000 people or something like that,” Howard tells Apple Music, a decade on. But the Lawrence brothers weren’t thinking of the Grammy or Mercury Award nominations or platinum sales that were heading their way-they were just hoping the small group of diehards who’d heard of them would like it. With its blend of house, UK garage, dubstep, and razor-sharp pop hooks, Settle would help to usher in an era where club music reshaped mainstream pop. As Guy and Howard Lawrence were making their debut album as Disclosure, neither had any inkling of the seismic shift in dance music it would herald.

Disclosure flume remix