Artist: Mumford & Sons
Label: Island Records
Released: 2012
Runtime: 52:17
Rating: 2.9/5
How do you come up with a formula that wins over the hearts of the Brits by shortcut? Ask Mumford & Sons, who sold over 5 million albums in record time by the release of their third record »Babel«. Babel« got certified as the fastest-selling album of the year soon after its official release this September. So the band’s popularity is still climbing!
The lads built their winning formula by taking the acoustic melody of Irish-Celtic folk elements, carried by mandolin, ukulele, violin and even banjo, and slipping it into the mold of Britpop (or post-Britpop), then filling the lyrics with the spirituality of religious devotion to the One and Only. On the new album, the ideal collision of the two is Hopeless Wanderer, tucked toward the end. Here’s the album’s first single, I Will Wait, reflecting an anthemic, arena-minded streak straight out of Britpop. Same goes for Lover Of The Light later on. All of it amply proves that Mumford & Sons can hit that anthemic charge of the commercially successful contemporaries of the new-era alternative rock of the British Isles. And often far more sophisticatedly, through an organic sound. That is, much more subtly, which is welcome, since the music keeps a clear, natural complexion, with no hiding behind the cosmetic makeup of effects that the luxury of recording studios offers.
The album carries a solemn, dramatic feeling of surrendering to fate, yet with the defiance of an upright stance, proverbially even at the cost of one’s life if it can’t be done any other way. Like in all those cult English-language movies. The hero goes down, but doesn’t sell his soul to the devil. I’m putting it deliberately banally, but vividly. So there’s plenty of tugging at the Brits’ heartstrings here, and the masses have definitely fallen for it, fully and instantly. In shaping their character, Mumford & Sons also borrow a lot of the historical symbolism the United Kingdom grew up on (say, the age-old signal flags of the Royal Navy’s seafarers).
»Babel« is even more bombastic and sonically glossy than its predecessor »Sigh No More« (2009), with even more pomp and grabby melodicity meant to snatch you by the ears from the first listen. This shows especially in the choruses, which put even heavier emphasis on the central role and are harmonized in even more detailed, step-by-step fashion than on the previous album, and of course carved into the lead melodies following the pattern of typical Celtic tunes.
»Babel« brings nothing new in terms of development. Only the realization that the band is trying to cash in on even bigger commercial potential. That feeling outweighs the artistic side of the product, which is not exactly desirable. Even though everything in the production and arrangements sits neatly in its place, the over-produced »Babel« too often comes across as an attempt to buy the masses.
But there’s one thing that keeps »Babel« afloat. The vocal delivery! Marcus Mumford, the notorious heir to an evangelical upbringing, is hugely convincing in his occasional obsession with spiritual sermons turned toward Heaven. His suffering, accusing voice, at times almost raw and piercing, at moments narratively whispery, gives the impression of a religious fanatic who won’t budge an inch in his convictions until the One Above gives him a nod that he may. Conservatism, attachment to tradition – something the Brits have forever (narrow-mindedly, sadly) simply loved.
The instrumental sections, where there’d be room for potential improvisation with solos, aren’t filled that way. That would be utopian, and the danger of fragmenting the catchy listenability would suddenly become a big threat to the product! Instead the band fills that space with a generous helping of banjo or mandolin accompaniment lines, which get more prominent here. Occasional simple acoustic guitar ornaments are added on the side, while keys and piano hold the skeleton of the songs together. The rhythm is full of folk symbolism, often built on simple polka-style drive.
Bob Dylan lovers will, despite their musical trail, have to offer something more tangible in artistry and musical substance on the next album. They’re becoming predictable, after all. The songs on »Babel« also feel repetitive to a fault, as they spin in a narrow circle of rhythm and melody, as staked out by the saying of Anglo-Saxon folk tunes. There’s too little dynamics in the basic backdrop of the musical form the band represents, and the feelings of the Brits can go numb pretty quickly on the other hand. And not even Marcus Mumford’s most convincing sermon will save them from that.
Lineup
Marcus Mumford – vocals, guitar, drums, tambourine, percussion, ukulele, mandolin
Ted Dwane – vocals, bass guitar, guitar, drums, tambourine, percussion
Ben Lovett – vocals, piano, keyboards, organ, accordion, drums, tambourine, percussion, harmonium
Winston Marshall – vocals, banjo, mandolin, dobro, bass guitar, guitar
GUEST MUSICIANS:
Chris Alan – cello
Nell Catchpole – violin, viola
Nick Etwell – trumpet, horn
Ross Holmes – fiddle
Dave Williamson – trombone
Richard Martin – percussion
Production
Markus Dravs
Tracklist
01. Babel
02. Whispers In The Dark
03. I Will Wait
04. Holland Road
05. Ghosts That We Knew
06. Lover Of The Light
07. Lovers’ Eyes
08. Reminder
09. Hopeless Wanderer
10. Broken Crown
11. Below My Feet
12. Not With Haste
