My thoughts on Disclosure - Caracal LP

This is a first listen through, so I’ll be writing down as I hear it.

1) Nocturnal (feat. The Weeknd)

Never been the biggest fan of the Weeknd, pretty bland indie stuff. This track sounds like they’ve listened to the Drive soundtrack and tried to make something similar, but have ended up with a Spandau Ballet b-side.

2) Omen (feat. Sam Smith)

Oh yay, Sam Smith. Standard beat, pretty awful Top Shop deep house wah wah bassline. Chords, breakdown, more vocals blah blah blah. As Disclosure as Disclosure could be.

3) Holding On (feat. Gregory Porter)

Christ, try and make the kick sidechaining on the vocal a bit less obvious. Shuffly hats, how novel. Right, I’m at 3mins now and all I can think of is how similiar this track is to the previous one. Different bass patch, different singer, but essentially the same tune. Chords, breakdown, more vocals then the beat comes back in. Only difference is the skippier percussion. Wonder if I played the two over the top of each other whether we’d have phasing issues.

4) Hourglass (feat. LION BABE)

Who the fuck is Lion Babe and why does her name need to be in capitals? That aside, the beat is slightly less pedestrian here. It’s more warmup Drumcode leaning techno. Any excitement goes around 45s when the Disclosure chords creep in again. More skippy hats with a short decay, and even a white noise sweep before the wah wah bass comes in. Three in a row now that are just basically carbon copy club tracks.

I’m sure if this is your sort of thing, then you’ll be happy…but honestly, this is something I might see at a large festival if I can’t be arsed with whatever is on the main stage. But it’s hardly pushing boundaries. Unless you’re a Clapham wine bar that wants to up it’s game, maybe.

5) Willing & Able (feat. Kwabs)

Hmmm, now this is something different. A lot slower, bit more of a tribal vibe to it. Chords are back (again) but they’re a lot slower and it’s got kind of a late 90s RnB vibe to it. Good vocal as well…this has got a hint of Brenmar about it (if he did too much mandy down Yates). Not a bad breakdown, short and poppy. I’m going to go out on a limb and say I actually quite like this, in a slower jam sexytime kinda way.

6) Magnets (feat. Lorde)

Just for the record, before I start listening to this, I fucking love Lorde. I guess that’s full disclosure about Disclosure? HAH. How fucking meta.

Chords have a slightly longer attack on them this time, just to switch it up a bit. Different percussion sample, more understated drums. Lorde’s vocal is pretty dominant (not that this is a bad thing). Found myself head nodding when the beat properly comes in. However, I’m fairly sure this is because I’m a fan of the singer, not the track itself.

If this was on a Lorde album, it wouldn’t be out of place. But in the context of a Disclosure album, this feels a lot more like a Lorde track that they produced than it does a Disclosure track with her singing on it.

7) Jaded

Fuck sake, 2 bars in and I already know I’m going to hate this. Sounds like bad electro pop house around the time Radio1 starting sucking Freddy Le Grande’s cock. Abhorrent.

8) Good Intentions (feat. Good Intentions)

Wah wah sound is very Ten Walls this time round. Standard vocal processing. Another generic club orientated track. Slightly more shimmery synths, but otherwise pretty indistinguishable from what has come before.

9) Superego (feat. Nao)

More of that slower RnB jam stuff. Beat sounds like Timbaland and Julio Bashmore on a bad day. Vocal is really nice though (in comparison). Can see this being a bit of a singalong tune if I gave it a few more listens. Those 909 hat rolls are fucking annoying though.

10) Echoes

Holy fucking shit, something that isn’t a generic house beat! It’s a generic two-step beat instead! Good of the boys to remind us that they came from a UK garage background. Ahhh, this is actually quite fun. Very basic beat but the skippy percussion and the short stabby bass is very atypical. It’s not great, kinda sounds like a UK garage pastiche by someone who has only used UK garage as their frame of reference, but in terms of breaking up the generic shite that seems to clutter much of this album so far it’s quite refreshing.

11) Masterpiece (feat. Jordan Rakei)

Oh, a rain storm sample. How fucking edgy. Lot slower beat here, like a melancholic RnB cut. Seeing a lot of the late 90s/early 00s RnB influences in this album, vocal has me thinking of KC and JoJo stuff. Works well with the thicker synth line here. Quite good. I’m liking this one, it can stay.

12) Molecules

Annnnnnnnnnd we’re back in generic 4/4 territory. Bland and forgettable.

13) Moving Mountains

More of the same? Sounds like it’s going to be more of the same. Oh wait, it’s not. Was waiting for a generic beat that never came. This is more of that RnB slow jam stuff. Quite sparse and minimal than the rest though. Oh shit, there is a beat that comes in VERY late in the track. Wow, this is actually quite interesting, nice to see one of the tracks on her actually showing some progression and finishing somewhere different from where it started. This is a good one.

14) Afterthought

Let’s finish with some generic house, shall we? More of the same, this isn’t anything that stands out. Suitable way to finish the album, but ultimately forgettable. And it’s called “Afterthought”. Very apt.


Not all bad. I enjoyed five tracks out of the 14. The Lorde track wasn’t bad but ultimately didn’t feel like one of theirs. However, the majority of this LP is bland, generic house that borders on self parody. It’s no surprise that the only tracks I can see myself listening to again were the ones that did something other than bland, generic house.

The album opener (even though it should be chalked up as a failed experiment) gave me hope that this album was going to go somewhere different, but it didn’t. They have a formula, it’s obviously working for them and making them money, so why should they step too far outside of the comfort zone and risk their Radio1 airplay?


And just for giggles, here’s that clip of the bird sniffing poppers live on BBC during their Glasto set;

Too much career-centrism in dance music today.

Don’t get me wrong, I wasn’t expecting them to suddenly start cracking out drone techno or bashment tracks.

This album just smacks of lazy cynicism, like they’re so hemmed in by the boundaries they’ve set for themselves that they’re not willing to take any chances on a new record.

Not even going to listen to it tbh. I knew what to expect from them. It’s peak though, when they started out with stuff like this, and this, they were kind of interesting and promising. Ever since then it’s been a bit of a slump tbh.
Though I also don’t doubt that their label would’ve had something to do with the lack of deviation, but I don’t get why people stick to labels that don’t allow them to try new shit tbh. Fuck having a big release on a big label if they’re not supporting music that’s worthwhile. And with the number of vocal collabs on this, I reckon they may as well have just sold the tracks to those artists for their own projects. Get good money without the embarrassment of putting out an utterly uninspired LP. You can tell by who they’ve picked to collab with that they’re at clickbaiting.

didnt check out the album. not interested. stopped reading at “weeknd pretty bland indie shit” LOL u calling the voice of our generation “bland indie shit”? can’t blame ya if you’ve only heard his latest shit cuz it’s wack tbh haven’t listened to his albums at all

but the 3 mixtapes he made befo he sorta blew up big time… they’re simply immaculate music. almost every song in those three tapes are mindblowingly good. lol idk why do I even have to state this cuz thot it was common knowledge bruh

now that I read your op I have to say it was sorta funny even tho I havent heard anything from the album except for the singles

have to agree about disclosure tho. they had something really interesting going on when they started out. the jessie ware running remix was really really good and had me going like how did they do that. ever since they been basically doing the same song over and over.

He simply is too similar to MJ with his vocals and there’s no escaping that. It was interesting that he has different lyrics and another pov than most singers but tbh it’s the productions that kept him relevant. The fact that he can’t protect himself from turning into a male Mariah Carey/ Christina (hired vocal acrobatics) - anytime an ost opportunity comes up, says something about his artistic side. He loves doing a shitty oldtime song if he gets to be associated to 50 shades of grey etc. It has been done and it’s cheap as fuck. Not heard a good track since often, either. imo

yeah yeah I agree. even the reason why his mixtapes are so good is mostly because of jeremy rose and illangelo who made those incredible incredible productions. his vocal melodies are always on point but I can understand why u wouldnt consider him an amazing lyricist. theyre just so cold ass misogynist and dark and they fit so well with the instrumentals.

1 BigUp

yeah man i do really like some of it

i think theres probably much more money in that slightly older audience so that might just be the reason, but its a shame that he doesnt just make street music or whatever

artist really become uninteresting when they cross that certain threshold of fame

1 BigUp

Ta Tabasco. Succinct.
so the worthwhile tunes should’ve been a Moving Mountains/Echoes EP?
read a newspaper review that described them as dance music innovators
I can’t hear it here
but early stuff may have inspired PC Music.

Presumably that’s why nine of the tunes sound the same.

It’s a shame they didn’t go more with the experimental side of things. On a second listen through (and knowing what’s coming), the first track is actually pretty innovative compared to the wave of identikit shit that follows.