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Mumford and Sons, 'Babel'

'Sigh No More' was a wave of popularity. Can the indie rockers deliver that same greatness with their sophomore release?

Like The Killers and Foster The People, Mumford and Sons is one of those poor little indie bands that just never got to be indie.

There's always been something strangely contradictory about Mumford and Sons.

The moment their debut full-length album Sigh No More dropped in the States, this folk pop quartet from England were instantly launched into the stratosphere of mainstream popularity. In 2010 and 2011, when mainstream-minded people thought "folk" or "indie" or "banjos", they thought Mumford and Sons. A RELEVANT Album of the Year award and a few Grammy nominations later, Mumford and Sons have now released their highly anticipated followup, Babel.

So here we have it: 12 more quasi-Christian pop hymns, once again filled to the brim with raggedy acoustic guitars, upbeat kick drums, and the band's infamous banjo plucking. To no one’s surprise, Babel sounds remarkably similar to Sigh No More. There are some nice touches here and there -- most notably that the mix has a bit more space in it, the other band members are featured a bit more prominently, and the thematic material feels a bit darker. But don't be surprised when you do a double-take after hearing the palm muted acoustic guitars and "The Edge-gone-bluegrass" banjo playing in songs like "I Will Wait" and "Whispers in the Dark".

The good news is that the album succeeds in all the same ways that Sigh No More did. Songs like "I Will Wait" and "Holland Road" will get your toes tapping, while tracks like "Hopeless Wanderer" and "Lover of the Light" will make you want to move out if that trendy city you live in and settle down with some chickens and a flannel button-up. "Babel", the rambunctious opener that begins the album, shows a Marcus Mumford who even sounds a bit more daring vocally.

"Cuz' I know my weakness know my voice, but I believe in grace and choice/And I know perhaps my heart is farce, but I’ll be born without a mask," he sings, full of a humble confidence.

Mumford and Sons has never been about keeping all their i's dotted and their t's crossed. They never had the songwriting precision of The Avett Brothers or the melodic nuance of Fleet Foxes. And maybe those bands deserve some of the popularity that Mumford and Sons has run off with. But it's the honest passion that Mumford and Sons brings forth that draws people to them. You won't catch them pretending to be something they're not and nowhere is that more true than on Babel.

Unfortunately, this also means that the album suffers from a number of the same problems that Sigh No More suffered from. Forgettable tracks like "Lovers' Eyes" and "Ghosts We Knew" have melodies and production choices that sound unforgivably similar (which also, of course, have their corresponding similarities with tracks from Sigh No More). But more than just over-familiarity, it often feels like Mumford and Sons get caught in some pretty cliche songwriting ruts that leave some of these tracks feeling awfully bland. One can only take so many rhyme couplings like "tongue/numb", "down/now", and "home/stone" until you start to wonder if Marcus is just picking them out of a hat. But I suppose that is part of the package you sign up with Mumford and Sons. These guys are all honest emotions -- despite how messy, nonsensical, cliche, and even self-contradicting they can appear at times.

Mumford & Sons - I Will Wait

The single 'I Will Wait' is now available from iTunes : Pre-order the new album 'Babel' released on Sep 24th 2012 at

There's always been something strangely contradictory about Mumford and Sons. Not only is a bluegrass-folk revival of any kind seemingly out of place in fast-paced technocratic culture we live in, the traditionally spiritual one Mumford and Sons recalls seems particularly unbefitting. In a nation whose church attendance has been dramatically falling since the 1950s, this London quartet’s honest dialogues about simpler life and faith are enough to catch any naysayer’s attention.

Marcus Mumford has always spoken about grace and love with a candor that few even in the Christian music market have been able to do. Faith, uncertainty, doubt, and love are all sides of the same dice for him and when he sings about it, you believe him. When he sings lines like "In this twilight how dare you speak of grace" or "Raise my hands, paint my spirit gold/Bow my head, keep my heart slow/'cus I will wait, I will wait for you", you just know he means it. You can tell that Marcus is a real guy with real beliefs and real struggles. And above all else, that is why I am perfectly okay with Mumford and Sons just being who they are.

Because success can definitely be a double-edged sword sometimes can’t it? Would Mumford and Sons have made a better, explorative, and more mature album if Sigh No More hadn’t erupted in popularity in the way it did? Perhaps.

But that doesn’t take away anything from the agreeable, catchy, and all around enjoyable folk pop album that Babel is.



Gloria Gooch reviewed…

Maybe Bon Iver, Conor Oberst, and Sufjan Stevens could provide some much needed relief (just to start) from the lyrical purgatory of Mumford and Sons. Sure, they're leagues ahead of Nickelback and DMB, but where the hell does that put them? Surely not in good company. This review is entirely accurate when it finds many lyrical combinations overwhelmingly repetitive. Take these lyrics: "Your grace is wasted in your face,

Your boldness stands alone among the wreck

Now learn from your mother or else spend your days Biting your own neck." Grace wasted in your face? Biting your own neck? And how the hell could that fit the chorus about everything being my fault and your heart on the line? Too may songs have lyrics with spotty moments--where it feels like he just filled in the gaps. I bet if he took more time he could really release some of his lyrics from the cliche incoherence and catch it up to some of there most proud melodies and rhythms (which, at times, could also use some patience and delayed-gratification). I mean, "The Cave," "Winter Winds," etc.--so promising! But they sold themselves short.



Dominic reviewed…

I live in the UK and would say that word definitely does carry the same weight as in the US. In their defense they are not Christians so would expect them to use clean language.


Barlawson reviewed…

The Christian element of their songwriting and energy, both attracts and detracts from their appeal, I struggle with lines that suggest that one needs to 'kneel before the King", there are many other lyrical indications that they are God driven, I'm not sure why I found that disappointing. Born again issues, I see why they are big in the US of A


Lostagain reviewed…

The 'F' word apart, they do identify with Christianity, lines that suggest that we 'kneel before the King' make me feel uncomfortable, their music is both refreshing and tedious at the same time, how do they do that I wonder?


Anonymous reviewed…

I do agree that Bon Iver, Conor Oberst and Sufjan are great songwriters but I put Marcus in the same category. There's a beauty and truth found in the metaphors he uses. The lyrics you posted are a perfect example. They make perfect sense to me, and I see them as brilliant, talking about the human condition to attempt to do things on your own and earn praise, despite the warnings given, and the gift of grace, which can't be earned, yet you read them as nonsense and space-filler.

I guess that's the beautiful thing about art, isn't it? Everyone sees and hears it differently. Cheers!

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