This is scratching an itch that hasn’t been taken care of since SBTRKT’s debut dropped a few years back.
The brothers that make up Disclosure, Guy and Howard Lawrence, are 21 and 18 respectively. Seeing as they’ve putting material out since late 2010, it’s enough to make 23 year old feel like I’ve been over the hill for a while now. Oh well. I can’t be mad about it, especially when the Brothers Lawrence are bequeathing the listening public with a song this good.
You & Me starts off with some nicely syncopated drums and it only gets better from there. I’ve never heard the whole dubstep/post-dubstep/future garage/whatever sound married to pop songwriting work as well as it does here. It sounds so good on paper – evocative melodies, esoteric effects, skittering drums with a verse-chorus-verse form providing a foundation, all given a powerful boost by a forward facing production– that you have to wonder why it’s not applied more in practice. Some cinematic strings underpin the second half of the two-part chorus and they’re an absolutely sublime addition. Sublimity is basically You & Me’s M.O.
And those vocals! Eliza Doolittl;s presence really elevates the proceedings to the next level. Doolittle has this naturally earthy soulfulness to her voice that’s immediately relatable. She’s also got enough technical ability that any vibrato or sudden leap in pitch sounds effortless. The paramour pep talk that comprise the lyrics are uplifting. Pretty damn sexy, too.
Home is where the heart is
And I gave it to you in a paper bag
Even though it’s tarnished
You told me it’s the best you ever had
You got my secret combination
And I don’t be giving that out easily
In my deepest dedication
I could tell that you had brought the same for me
In your big house on the hill
Where you keep your dollar bills
And you stashed my heart
Somewhere in the dark
Keep it safe I know you will
Know you will, know you will
Know you will
I know you will.”
I can’t stress how catchy You & Me is. The song has hooks to spare. The chorus itself is really broken out into three parts, each section distinguishing itself in the ways it will entice you.
The last minute or so of the track is a lone, programmed beat rattling away. It only takes a few seconds for one to realize that it’s the same beat that lead the intro of the song. This sonic bookend is just pleading with me to put this one back into immediate rotation. I happily oblige.