[3] Formed in 2013, the identities of Jungle's were originally kept secret, in order to place an aesthetic emphasis on the music's surrounding artwork and videos.

[18][19] Jungle has been described as an album of nu-disco,[1] and disco-funk,[2] with songs characterised by "pliant" bass, 4/4 beats and "spindling guitar", underpinned by synth parts that are variously lush and airy.

[1] Throughout the record, the group incorporate falsetto harmonies that have been compared to disco-era Bee Gees, albeit processed to sound somewhat "robotic".

[23] Alongside the prioritisation of grooves and melody, many songs on Jungle feature unusual found sound effects, including police sirens on "The Heat" and a creaking door on "Drops", which were often captured by the group while on tour.

"[23] According to Lloyd-Watson, these sounds emerged because the duo use "what's available" when recording, adding: "if you're in a room in Paris and you haven't got any shakers, you'll end up getting some Euros and throwing them in a sink and miking that up.

"[23] "The Heat", a "falsetto space funk" song,[22] combines mentions of temperature and sexual 'heat' with the sampled police siren to feature "three separate 'heat' references in under 10 seconds.

[27] For AllMusic, Fred Thomas wrote that Jungle is "to be taken as a complete statement, and one that seems to reveal its nuances with repeat listens", adding that the identities and backgrounds of the band members "quickly become extraneous in light of the wealth of intriguing sounds presented on this incredibly well-constructed debut.

"[25] Jim Carroll of The Irish Times believed it to be a record of "future-funk party favourites" that works well on repeat, praising the album's sunny pop grooves and noting: "When the sounds are this vibrant, it doesn't matter a jot who the Junglists actually are".

[21] Mark Beaumont of NME drew attention to the record's "ultra-modern rewiring of funk" for Generation Y, deeming it "the pop-art album of summer."

Like Carroll, Beaumont noted that the album's "darker side" is "really intriguing", writing: "There's a tone of inner-city malaise, romantic ruin and psychedelic alienation to a raft of its tracks that speaks to those modern urbanites feeling screen-wiped and robbed of opportunities, busy earnin’ for nothing.

"[2] In The Guardian, Paul MacInnes felt that the songs work individually, but that the whole album becomes predictable, adding that "the faint, faded vocals, which at first intrigued – are they those of a wounded lover, or just a jaded observer?

He also noted that the group's "falsetto-castrato harmonies—just beyond the range of Pharrell—that deliver each chorus and hook" prove tiring, making the album feel longer than its 39-minute length.