Disclosure brought the heat with their debut ‘Settle’ at a time when electronic music was one of the most popular and commercially successful genres, yet probably also the most criticised. Genre bending, self-assured and chock full of collaborations, ‘Settle’ scored highly with critics. What the Surrey brothers had to offer was original, and worth paying attention to.

Sophomore effort ‘Caracal’ is a different animal altogether – literally. Disclosure chose the title and imagery for the album, because of the animal’s “strong capabilities” and “their anonymity”. Did its beastly qualities transfer to the music?

From the singles, it would be hard to tell. Promo single Bang That was forgettable, but Omen and Holding On, (featuring Sam Smith and Gregory Porter respectively) were huge songs in their own right. Low and behold, it is the album tracks that pack the most punch.

Teaming up with man-of-the-moment The Weeknd for Nocturnal, six minutes seems like a stretch for the introductory track. Don’t be alarmed though, this is a dream pop glide through celestial synths.

Lionbabe’s Jillian Hervey provides disco stylings and shimmies on house track Hourglass. Willing And Able features British baritone Kwabs. An R&B haunt, cleverly written with the collaborator, the choruses emotive and strongly uplifting – “If I’m gonna fall in, I’m gonna fall my all in …”

The standout track on the album comes in the form of Magnets. Vocalist Lorde sounds coolly confident -over melting keys- and no longer like a teenager breathing with angst on a mic. The brothers are masters of pacing at this point, cranking it up only to cool it right down again.

Jaded is signature Disclosure style, and therefore not the most original. However, as one-half of the duo, Howard, takes the reins on vocals, it becomes apparent that he’s improved ten-fold since their debut. The melodies are unavoidable – it’s an in-your-face pop effort, with an even stronger message, taking pot shots at industry people who take credit for other peoples’ work.

Good Intentions a sad lament that still manages to maintain the groove pays homage to the ‘80s. Miguel, vocally and lyrically, has probably never sounded as sincere.

Despite probably containing one of the best lyrics of 2015, – “you’re stringing it out like a symphony” – Superego never really kicks off until the chorus, notwithstanding Disclosure and Nao’s best efforts. Similarly, Echoes is not the kind of track that leaves any sort of lasting impression.

Closing track Masterpiece sees Aussie Jordan Rakel croon it out neo-soul style over precise strings – a relaxed, and yet oddly dark, track that upholds the latter half of the album.

Disclosure’s desire to change up their sound deserves to be admired. With that said, ‘Caracal’ looks set to alienate some of their biggest fans. With the tempo turned way down, and some of the confidence that came with ‘Settle’ lost in the process, listeners may find themselves reaching for more. The album is undoubtedly top-heavy, and practically grinds to a halt as it reaches a close. Disclosure’s sombre second offerings are more mature, thoughtful but may leave long-time listeners scratching their head.