When I look back in my album collection (YES, I still have one of those outside my cloud and computer. Introduction and official entry into it however, has gone up a few notches of collector importance, but some still make the PHYSICAL cut, so save your judging), I am always eager to see what about some albums made me keep them and others, toss in the proverbial bin.

I look back at classics like MASSIVE ATTACK debut album on Virgin Records, BLUE LINES and I see what it is: what is on this new album from duo DISCLOSURE. SETTLE reminds me so much of BLUE LINES in spirit and sincerity, its no wonder they hail from the same country of origin (across the pond in the U.K., the duo DISCLOSURE raised their sound from Reigate in Surrey, England, while the now world-renowned original trio of MASSIVE ATTACK culled theirs from Bristol, England) as it is the sense of exploration through collaboration that made the predecessor such an original in its time. Acts like NENEH CHERRY and PORTISHEAD were instrumental in bringing the act to the forefront (listen to the throwback MANCHILD from Cherry’s global smash album RAW LIKE SUSHI for a small glimpse of what was around the corner for the electronic arena of music and “Trip-Hop”), as is the network collaborative that through choice remixes helped DISCLOSURE find its own voice and bring so much with them to the table of the debut release. Namely, the U.K. sensation of ‘RUNNING’ by still-building namesake crooner JESSIE WARE, which indecently helped propel that artist’s latest release to multi-million sales globally, and spinning opener gigs with others such as SBTRKT gave a platform for a brother combo, that is finally making its way across seas to the label “postdubstep”; of which may or may not be fitting after hearing what they do live and on this release. Following the career from EP release to EP release you can see a hyper-aware growth that genuinely works with SETTLE. It follows a smart pattern of other electronic artists from other parts of an ever-growing part of underground and popular music (we won’t be using the label EDM for something as radical as this release and insult it with a commercially-slapped tag) like CALVIN HARRIS and DAFT PUNK where the songs are released alongside the growing publicity and awareness of the full release. Singles that have such a ramming of full-on listening on repeat quality, you can’t help but want more.

The beauty with this release is half of those singles AREN’T EVEN ON THE ALBUM. Indeed, songs like divine ‘CONTROL’ with RIA RITCHIE on vocals is no where on the album. Its EP neighbor, the delicious BOILING with Sinead Harnett isn’t part of the release unless you look for the deluxe edition. Both, major players in the growth of the act as a whole that you witness on this debut. The answer seems easy: they’ve grown. I think there is a bit more to it: focus. Where any other album the label would be happy to dump all the “heavy hitters” on one monstrous deluxe edition, this one had careful editing. Editing that allowed a new track featuring the amazing JESSIE WARE on it without letting the remix that helped make them both over shadow it(again, ‘RUNNING’ can be found on the deluxe but not on the standard). Collaborations with new artists take center stage – one listen to the swoon-worthy, mid-tempo shuffler ‘HELP ME LOSE MY MIND’ will be begging for additional listens – their deft mixing skills on tracks are placed on a needed pedestal — like STIMULATION, a nod to the house-era of late twentieth century in Chicago and Detroit – and the result is utter bliss. Bliss that asks to be shared, enjoyed and put on spin cycle through the summer that is right around the corner.