Disclosure 'Caracal' album review

Ever since they burst onto the scene in 2013 with their debut album Settle, the buzz around brothers Howard and Guy Lawrence, better known to rave lovers as Disclosure, has been something to behold. That debut featured innovative sounds which were unique to the pair and quite frankly refreshing at the time. Their song-writing abilities and understanding of clear lyrical structures was proven through ‘Latch’, which undeniably launched Sam Smith further into his flourishing solo career.

The world of dance music, particularly on the fringes of the commercial side of the industry was running out of ideas around this time. The arrival of Settle was simply joyful and helped administer a much needed change of direction for the new rave generation initiating a new sound driven by deeper beats.

Fast forward two years and the duo are preparing to release their hugely anticipated album Caracal which has already been poised to not only deliver but better the achievements the brothers have attained. The album garners its name from a species of African wildcat which hunt in pairs, much to the comparison of the Lawrence brothers’ short but remarkable musical journey.

Unlike the debut album, Caracal focuses less on sampling and more on experimentation with a noticeably slower tempo. The album sees the inclusion of stellar vocalists - The Weeknd, Miguel, Lorde, Gregory Porter and long-time friend Sam Smith to name but a few.

The opening track ‘Nocturnal’ is tailor made to fit the style of guest vocalist The Weeknd, featuring notably softer melodies and a grumbling bassline. ‘Omen’ a track that breathes life into the album with its bouncing low-key pads and the welcome return of Smith, who demonstrates his undeniable talent with compelling soulful lyrics.

Porter’s cameo on Disclosure’s nu-garage track ‘Holding On’ and Lion Babe with her contributions for ‘Hourglass’ - arguably the most upbeat on the album - really epitomise the powerful presence and driven vocals both guests possess. The inclusion of Lorde on the album could be considered a coup by the London pair, but even the dreamy vocals for ‘Magnets’ doesn’t seem to offer much substance to what is a dull addition to the album.

Things are taken up a notch with the provocative gift that is ‘Jaded’, which boasts elaborate synths and an upbeat tempo throughout. Interestingly, it’s one of three tracks that feature vocals from Howard, one other being ‘Echoes’ which revisits the exuberant style we saw on Settle. 

Brendan Reilly provides calming yet effective lyrical basis for ‘Moving Mountains’, the slowest of the tracks commanding delicate percussion. It certainly confirmed Disclosure’s versatility and ability to mix up their approach to a much more emotive style.

Then there's ‘Bang That’, a track built around a sample of 313 Bass Mechanic’s ‘Pass Out’, perhaps the most fun track on the album. Not one for headphones but it's already a favourite for live sets and performances by the pair, and it's charm laden immediacy makes it easy to see why.

Reflecting upon what Caracal brings to the forefront, it’s an album that undoubtedly packed with talent, including relatively new voices like Nao and Brendan Reilly as well which is reassuring. It shows the boys finding their feet from what has been a whirlwind few years, displaying more maturity and exploring different techniques and avenues within their musical arsenal.

Despite this their debut still remains exciting and superior - Howard's vocals may be there but the voice of the band seems less prominent. Caracal is by no stretch a bad album, it just doesn’t quite reach the upper echelons that glossy jackhammer from 2013 delivered.

Read more: Disclosure announce UK tour.