Over the years, Disclosure is
Disclosure came out with their four-to-the-floor debut, Settle, during when dance music was growing its mainstream prominence. It was one of the best electronic albums of 2013 with blend-in elements from dance-pop, bass music, deep house, and UK & Future garage. Settle’s crispy and coquettish persona was playful, enjoyable and refreshing, much like UK’s dance music scene that always pushes itself forward. But their follow up project, 2015’s r&b driven Caracal was a bit of a disappointment. The album lost its prominence into the noise of heavy names like The Weeknd, Sam Smith, Lorde, and Miguel and chart-friendly sound.
But it is what it is. The duo’s funky-as-fuck sound is always a go-to element in the background considering how much inclusive and well-produced they have always been. Ecstasy followed this same route with samples taken from different directions of sound. From blues rock to pan African influence on disco to Afro-beat. Ecstasy will remind you the Steve Angello’s statement on electronic music, “That’s what makes it so special. I can put any subgenre in any country of any culture into dance music and it’s still dance music.” That’s the beauty of it. You can blend in any genre and it will go hand in hand.
But mingling different genres is not new with dance music. And so is the sound of Ecstasy. It’s not new or impelling. The track Etran with Etran Finatawa is a definitive reminder of the Deadmau5 remix of the Gianluca Motta track from 2008 with added afro-beat and desert rock material. While The EP’s playful, catchy and high-energy attitude is definitely exciting, it is only reminiscent of any Anjunabeats and Hedkandi releases from the late 00s or early 10s with a well-incorporated classic house and nu-disco elements. They grow on you and take you to a step backword. But as elementary as these sounds have been, Disclosure’s unabashed funky take on Ecstasy is definitely worth loving.