The West London Wurzels return with their long-awaited (by some) second album of badass banjoing, twanged double bassage and foot stomping guitars.
And thank the Lord because if I had to listen to Xfm and Absolute Radio play 'The Cave' or 'Little Lion Man one more time I might have tossed my tweedy waistcoat and cravat assunder and exclaimed "gosh, I shall never again listen to this moderate folk rock".
BABEL is business as usual for Marcus Mumford and his merry men. Like Sigh No More, it is again a mixture of British folk, American Bluegrass and anthemic uplifting indie. It follows the template laid down on their debut exactly: close male vocal harmonies, climactic builds, lyrics with vague religious and literary references, plus the occasional use of fruity swear-word to spice things up.
It does have a slightly looser feel than its predecessor, apparently the band wanted to capture the sound of the Mumford live experience. Producer Markus Dravs (Arcade Fire, Coldplay) has certainly done that - 'Babel' and 'Whispers in the Dark' are a couple of stompers to open the album. They'll have you tapping your foot, slapping your thigh and yellin "yeehaw".
Being a little mean, Mumford & Sons are the kind of band that readers of both the Daily Mail and The Guardian can agree are "really, rather good aren't they". They are the most middle class, middle England, middle of the road band going. The musical equivalent of Farrow & Ball paint. They run a book club on their website (Marcus is currently reading '50 Shades of Grey'. Maybe). Their name even abbreviates to M&S! But as easy as it is to deride these earnest young men who sing with their eyes closed, they do know how to duel banjos, write a belter of a tune and can get their audiences jumping without the use of pyrotechnics. All of which are rare things these days.
If you enjoyed the first album (before it became hideously overplayed) then you'll enjoy this. You can imagine the crowds roaring along to the foot stomping 'I Will Wait' and 'Holland Road' before swooning to the sweetly tender 'Ghosts That We Knew' and 'Lovers Eyes'.
HOLLAND ROAD
I WILL WAIT
BROKEN CROWN
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