Alongside Rudimental, Disclosure have ignited a revolution in UK dance music. While the former seek to redefine drum'n'bass, the latter are skewing the boundaries of house and garage - though both implement the flotsam and jetsam of fallen genre du jour, dubstep. Disclosure have seen themselves exponentially grow, thanks largely in part to 'White Noise', a track released earlier this year featuring AlunaGeorge, to rave reviews and immense sales. They're critically lauded and commercial gold with a sound so vogue it should be treading catwalks, snorting lines off toilet seats and sporting eyebrows like Cara Delevingne.

The debut record, Settle from the fraternal duo of Howard and Guy Lawrence (18 and 21 respectively - how old do you feel now?) has been highly anticipated by many, probably thanks to the sheer amount and calibre of guest spots: Eliza Doolittle, Jessie Ware, Jamie Woon, Ed MacFarlane of Friendly Fires, Sam Latch, the aforementioned AlunaGeorge, Sasha Keable and London Grammar all grace the LP with their presence. It's an impressive array of names for any record, let alone a debut; it just goes to show the hype that precedes them - everyone wants to join in and attach themselves to the meteoric rise.

'White Noise' is a clicking assault, with hi-hats rattling around beside spring-loaded synth bounces and Francis' pitch-shifted vox. It's a pop gem, simultaneously harking back to the high production of late 90s dance/trance and hurtling into the future with groundbreaking noises. 'Latch', another big hit, is a darnsight more chilled. There are R&B tinges, probably due to the inclusion of Sam Smith's pipes, but for dance music, it's remarkably lethargic. It still has a trippy beat to groove to, but it succeeds as a track to be appreciated outside of dingy sweat-infused atmospheres sans booze.

The biggest issue with this record is that is lacks a real soul outside the guest appearances. It's clinical, sharpened to the point of robotic and any slippages in anything have been quantized and retuned; everything is so perfectly slotted into line, it becomes grey and homogeneous. The occasional riff stands out - 'Defeated No More' and 'January' for example - but for the majority of the time, this may as well be one long track. There are similarities to an actual DJ set: the changes are subtle and beats/hooks drop in and out surreptitiously. Perhaps that's the point, perhaps it's a concept album you can whack on from start to finish in lieu of an actual person in the DJ booth.

Settle ends up being a wonderful compilation of other famous voices. There's the occasional flicker of real promise outside of the star power, but aside from that, it's a record carried by other people. Clearly the Lawrence brothers do have talent - how many other 'real' musicians (so rule out Bieber, Levato, Gomez and Jake bloody Bugg) can claim such a chart-dominant slew of hits at their age? - but any shred of experimentation or heart has been unceremoniously zapped from their debut. This is meticulously crafted for nightclubs - the beats are basic, the hooks simple - and in the end, it's all very throwaway. To address these issues, they need to tinker with colouring outside the lines and maybe finding a sound that stands tall without the allure of collaborations.