That isn’t to say that Babel is a bad record, or even a dull one. At it’s best, this still breeds enthusiasm via teased, whimpering moments of musical sincerity.Įven the most visceral Mumford & Sons detractors wouldn’t have been able to avoid the news that their long-awaited new album, Babel, not only reached the Number 1 spots in the US and UK and became one of the fastest selling records of the year, but the NME are even reporting that Mumford have matched the Beatles for the number of consecutive songs to place in the US Billboard Hot 100.īut what is the new record actually like? The short answer: Nothing new. Mumford & Sons’ response to Sigh No More neither whimpers nor excels with piles of radio-friendly folk interspersed with ripples of strength.

There was much industry buzz surrounding the delayed release of Babel, which was, no doubt, pushed out speedily to meet management demands, but this encourages another debate entirely. These tracks harp back to the best of the band’s earliest work which aided in the regeneration of the Folk scene today. My disinterestedness was hampered, though, as a genuine artistic temperament steadies the scale with Babel‘s strengths: ‘Broken Crown’ and ‘Reminder’ are intelligently engaging and emotive as lustful and memorable lyrics gel with rich melodic structuring. There are points where this work sits upon sturdy ground, but the would-be-farmers in waistcoats never engage the plow: there is little progression, nor active response, to be found anywhere. The latter, by all means, appears to have been orchestrated by a rhyme-obsessed fanatic with strum-related OCD. ‘Babel’ and ‘Hopeless Wanderer’ compliment ‘I Will Wait”s formulaic structure and feel. This is never more blatant than in the shamelessly self-indulgent, PR-y single ?I Will Wait’ with it’s video featuring thousands of screaming fans in near-on sacrilegious formation, whooping and cheering as the band storm the stage: it’s a trashy, easy release that displays nothing other than the shedding of light unto the band’s relative complacency, illustrating the worst moments of this album. There is understandable reasoning for ?nding this second effort dull, even laughable at points as strum-ridden crescendos soar like Eagles dangerously close to commercial jets. OMG MUMFORD & SONS ARE BACK and much mainstream music press are devoting time to lambasting the pop-culture bracket they inhabit, “Why does everyone hate Mumford & Sons?!” they scream whilst overlooking any relevancies such as the music itself and that it is, of course, these exact journalists themselves who propel such a culture of hate in

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