Things have moved fast for UK duo Disclosure. At just 18 and 20 years respectively, brothers Howard and Guy Lawrence have gained a lot of traction in 2012. First, they released their single Tenderly in January, before becoming Northern Summer favourite with their remix of Jessie Ware’s Running and buddying up with powerful allies like Skream, SBTRKT and Hot Chip. Now with a couple more big singles under their belt and the debut album set to drop at the beginning of next year, the prodigies are making their debut trip to Australia with the Summadayze, Summafieldayze and Field Day New Year’s festival trifecta. In the lead up to their arrival, inthemix spoke to Guy Lawrence about the pair’s quick ascent.
I saw your performance at Outlook festival this year, which was completely amazing. You’re both also coming to play Summadayze, Field Day and Summafieldayze in Australia over the New Year. What’s the biggest festival you’ve played to so far?
Outlook was definitely up there. The main stage was pretty big. We’ve done a couple of shows in Ibiza which had about nine or ten thousand. Then we did this festival in the UK called Bestival and that one had about ten thousand also. Yeah, it’s been crazy.
How does it feel to play to a crowd that big? Your career has skyrocketed so quickly. Does it feel strange to be in front of that many people?
It did at the start, but now it feels like what we should be doing. I’m glad we’re doing this; I don’t get too nervous anymore. It’s crazy, but it’s what we’ve always wanted.
With your fan base growing so quickly and playing these big shows, do you feel famous?
I don’t know. There’s definitely an element of that that comes through. It keeps creeping in. Stuff like we keep getting recognised more and more, on the train or in town or whatever. Lots of old school friends are messaging us on Facebook being like “I love your song” and stuff. I haven’t spoken to them in like six years or something so… yeah that’s kind of strange. We’re not in it for fame or anything. We just want to make music and play shows, and I guess that’s just something that comes with the success.
Because you’ve struck such a powerful note with audiences, there are a lot of older and smaller profile artists in the UK bass music scene who have become bitter. How do you feel about being part of a wave of younger artists?
Well, I just suppose that it’s kind of amazing what younger producers are achieving right now in general. Everyone’s doing their thing. It’s so good that pretty much anyone can produce a song at home now if they have a laptop and a pair of monitors. There’s a producer I’m so into at the moment called Happa. He’s like fifteen years old and makes techno. What he’s making for his age is crazy. He’s never even been to a club! I was really impressed when I heard him and that he was fifteen. I thought that was mad.
How did you find your production turning towards a future garage and bass music sound?
It was just what felt right. I didn’t label it that and we don’t really use those terms. We don’t really use any terms to describe what we make. We weren’t really around for the whole garage scene going on in the 90’s. I was born in’91 and Howard was born in ‘93, so we were way too young to be involved in that. We grew up listening to different types of music and getting more into production. We looked over the past history of dance music, I think house and garage music were just our favourite ones. The best music was released in those kinds of years and in that kind of scene. We were very influenced by that and ended up with the sound that we have today.