MUMFORD & SONS

BABEL

by MITCH MOSK

The little lion men have done it again! In September, British folk-rock band Mumford & Sons released their sophomore album, Babel. The follow-up to 2009’s critically acclaimed Sigh No More, Babel delivers a second batch of the distinctive guitardriven, harmony-laden sound that shot Mumford & Sons into the international spotlight not long ago. Debuting at number one in both the UK and the US, Babel finds main songwriter/lead singer/guitarist/drummer Marcus Mumford expounding on themes of introspection, love, searching, traveling, and religion. The lead single, “I Will Wait,” is an uptempo window into the life of a traveling musician. It begins loudly, as acoustic guitar, banjo and drums swell; however, as many a Mumford fan is used to, the instrumentation quickly drops. The volume dies down as Mumford sings, “I came home like a stone, and I fell heavy into your arms / These days of darkness which we’ve known, will blow away with this new sun.” Life on the road certainly had its effect on this folk band, and thankfully it seems to have been for the better. Marcus Mumford has found an entirely new idea pool from which to pull catchy–while meaningful–lyrics, all the while maintaining a strong grip on his and the band’s roots. What really makes this album special is its musical texture: right off the bat, you know it’s Mumford & Sons. The fans wanted more of that unique acoustic folk-rock beat, and they receive just that. Yet at the same time, Babel is so much more than the second coming of Sigh No More. In the three-year interval between album releases, the band has evidently experienced significant instrumental and musical growth. They sound better than ever and confident in their abilities. This self-assurance can be heard in songs like “Hopeless Wanderer,” where Mumford & Sons take their signature sound and expand it, moving past the boundaries of tradition to blend electric guitar and banjo into an unexpectedly warm and complementary mix. Mumford & Sons were previously never shy about playing softly, but they seem even less afraid of silences on Babel, taking opportunities throughout the album (on tracks such as “Babel,” “Ghosts That We Knew,” and “Lovers’ Eyes”) to use the emotional power of quiet moments, as well as the physical jolt of quiet-to-loud transitions. Already the winners of multiple awards, including the 2011 BRIT award for “British Album of the Year” and three different Billboard Music Awards, the six-time Grammy nominated Mumford & Sons are at a good place in their career. They sound good, they’re selling out international stages, and by the looks of it, one would say they’re enjoying themselves. Babel is about as much as you can ask for from any band’s sophomore effort, and it leaves Mumford & Sons with plenty of room for growth and experimentation. One can expect the third Mumford & Sons album to venture well beyond the band’s current, self-set musical boundaries. However, to live in the moment and celebrate the now, we can revel in a sophomore album that gives us exactly what we asked for: more of that unique rock-tinged folk music. At a time when music constantly pushes forward and experimentation feels ubiquitous and second-nature, we want to thank you, Mumford & Sons, for continuing to sound like yourself.<

MITCH MOSK

If?