Call it what you want, Future Garage or simply Bass music, Boiling(out June 4th) is another masterstroke from South London brothers Disclosure. From their debut, Offline Dexterity ( Moshi Moshi ) in 2010 to the recent reworking of Jesse Ware’s Running (300k plays online and counting), Messrs Guy and Howard Lawrence have yet to put a foot wrong. The duo joins the dots on dance music’s nebulous subgenres with an inventive disregard for boundaries. Tracks like Flow and Tenderly cut up and pitch-shift vocal samples, welding them to jerky beats and glitchy textures. They operate in the fissures where house, techno and dubstep all seep in. Protean electronic auteur Burial has been name-checked as a major influence on Disclosure’s working methods and it’s easy to see why.
Except Boiling is a different kind of deep cut. Utilizing a steady rhythmic pulse of 4/4 beats, finger clicks and with a bona fide vocalist, it dwells in the dimensions of a more orderly house. But the bitter-sweet Boiling simmers with a soulful ache that will grab listeners outside of the dance cognoscenti. This isn’t ‘niche’ music, it is state of the art popular song. Harnett’s vocal, poised and sultry, passes through echo chambers and filters to spell-binding effect. Synth chords rise like the encroaching desire at the song’s core. They pay fealty to the beat and that funky, prowling bass. ‘It won’t give up and I won’t up and go,’ Harnett sings, caught in the vice grip of l’amour fou. The sensual yet stringent Boiling conjures up such amorous torment in the shape of a svelte ‘banger’. Top tune, in other words.