![babel mumford and sons lyrics as lbum babel mumford and sons lyrics as lbum](https://s.mxmcdn.net/images-storage/albums/1/8/5/9/2/2/14229581_800_800.jpg)
It will have festival goers singing and jigging along like mindless doesy doeing cyborgs next summer. Within the album the most obvious hit track is ‘I Will Wait’. While this is what has led to their current stardom, I do think Mumford have the creative ability to make something far more interesting. ‘Babel’ reeks of sweaty stadium filled sing-alongs, with its epic chorus’ and barn yard hoedowns constantly popping up track after track.
![babel mumford and sons lyrics as lbum babel mumford and sons lyrics as lbum](https://i.pinimg.com/originals/33/84/cf/3384cfc35c5df6e1f8ae4095a8ab6833.jpg)
They have had massive success with their own brand of folk-pop but the formula gets old fast.
![babel mumford and sons lyrics as lbum babel mumford and sons lyrics as lbum](https://bloximages.newyork1.vip.townnews.com/breezejmu.org/content/tncms/assets/v3/editorial/e/1d/e1dd4750-0844-11e2-84e1-0019bb30f31a/5063b0416d9ea.preview-340.jpg)
Mumford and Sons clearly have bags of talent. The waistcoat wearing folk boy band are back with a 2nd album that feels all too familiar. That isn’t to say I won’t be listening to it often for months to come. Just as the quieter “Timshel” was my favourite track from Sigh No More, one of the immediate highlights from Babel is “Ghosts That We Knew”, which bubbles away brilliantly, never quite brimming over into a full-scale Mumford finale.Īs much as I would like to wholly disagree with the Mumford naysayers who have labelled the band disingenuous poseurs and the new record a carbon-copy of Sigh No More, because it is similar in so many ways, Babel lacks the emotional authenticity and fresh appeal of their previous effort. The infectious exhilaration of tracks such as “Babel” and “Lover of the Light”, and galloping, twanging pace set by Winston Marshall’s frenetic banjo-strumming in “I Will Wait” and “Hopeless Wanderer” will be whipping audiences into a frenzy well into next year’s summer festival season at least. Mumford have returned to the same toe-tapping, heart swelling crescendos of “Sigh No More” or “The Cave” for good reason – they are fantastic songs with the capacity to entrance and enthuse audiences in equal measure. 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