It's a bizarre paradox that EDM reached unprecedented U.S. popularity when most of the albums solid enough to actually dance to, front-to-back, were made by acts only a step or two away from being rock bands. That's not Guy and Howard Lawrence of Disclosure. These young U.K. brothers make straight-up house music, the least critically respected of electronic genres, and they do it not all that differently from the Chicago/NYC/NJ pioneers who were hot before these guys were born — with beats, synths, singers, and songs all flaunting considerable commercial appeal. On a hooks-per-minute level, Settle is right up there with the best of Britney, Gaga, and Beyoncé. What makes Disclosure considerably deeper is the way every element has been honed to a level that rivals the most tweaked-out underground techno. There's a luxurious bounty of space here, and not just in the silence between typically staccato notes. With ping-ponging rhythms that ricochet from speaker to speaker, Settle is one of the most stereo-flaunting records since the space-age-bachelor-pad days of Esquivel. And because there are fully-fledged tunes here, Disclosure's harmonic motion actually measures up to their hi-fi vibrations. B.W.