Disclosure discuss what’s to come for ‘Caracal’ and their full pop adoption
Though the Lawrence brothers have always had one foot firmly planted in dance music roots, it comes as no surprise that Disclosure aims to deftly become known as a pop crossover act rather than merely being restricted as electronic music artists. Specifically, in a recent chat about their new album Caracal, Guy and Howard breezed over a few controversial issues of the EDM world that they have actively distanced themselves from.
The two stressed the importance of in-person sessions and songwriting as one of the pinnacles of their forthcoming album, explaining that they feel as though they are capable of achieving more than what current dance artists are outputting. “You meet more and more producers and you find out, ‘You’re not really a producer, are you? You’re just a monster A&R who puts his name on the record.’ It’s weird,” Guy alluded, though he and his brother refused to name names.
Stamping out any possibility of ‘ghost-writing’ tendencies, they continued to explain that Disclosure’s newest work will leave behind all traces of “club tracks.” Instead, the two are moving full steam ahead towards full-bodied pop songs in hopes of matching their massive hits “Latch” and “White Noise.”
That pop-makeover made it an obvious choice for Guy and Howard to reunite with their friend and former collaborator, Sam Smith. Both acts were blasted into stardom after “Latch” went triple platinum, and Caracal will see the maturation of their work together in a new collaboration, two years out from Settle. Reportedly, the new song with Sam Smith is “a sleek, blissed-out anthem that might be the happiest-sounding track either artist has ever released.”
Though details about their album still remain to be seen, Disclosure is instead diverting attention to plans for their upcoming tour that will be their largest US tour that they’ve ever done. Far from the typical display of fireworks or pyrotechnics, the brothers are giving each song of their set a customized visual counterpart with moving screens and visual stage displays to complement.
“I like the idea that if someone tweets a picture at the start of the show, and someone else takes a picture at the end, they’ll think it was a different show. […] We’re not trying to scam people by just turning up and pressing play and then all these pyros go off that the venue paid for. I think that’s total bullshit. Everything you see on stage is ours — we own it. […] It’s nice to know that everything the crowd is seeing is Disclosure. The only thing that’s not is the floor you’re standing on.”
Via: Rolling Stone