The British four-piece folk-rock group Mumford & Sons’ second album, Babel, brings an almost devotional epic quality to their recorded output that matches their live shows.
As they continue to spearhead the revival of folk music into wider acceptance and popularity, Mumford & Sons crank up the banjos and acoustic guitars with the help of producer, Markus Dravs (Coldplay). Also a big part of the band’s appeal is their vocal presence; the harmonies are an uplift in the songs. They are strong but subdued, serving the music and elevating instead of dominating.
The four musicians (Marcus Mumford: vocals, guitars, mandolins, percussion; Ted Dwane: vocals, bass, guitars, percussion; Ben Lovett: vocals, keyboards, accordion, percussion; and Winston Marshall: vocals, banjo, mandolin and dobro) are dialed into the drive as well as the vocalizing.
Their attack on the rhythm is relentless and often a kick drum is the only hint of percussion. In Whispers in the Dark and I Will Wait, the pace is forward and solid and the banjo cycles through the music like a wheel, bringing in elements of piano and percussion. They’ve mastered the art of mixing this potentially abrasive instrument.
Mumford & Sons are breaking new ground as they go forward, but similarities can be heard to other acousti-centric acts. Mumford’s voice recalls Dave Matthews in his quieter moments and the band’s presentation is akin to lesser known fellow Brit folkers, Dry the River.
But no matter, Mumford & Sons bring the big elements together in their own inspired manner. They also echo British lyric folk traditions, merging imagery, folklore and a literary backdrop into an almost pagan festive celebration.
This is mixed in with muted religious themes (Lover of the Light) as well as basic symbolism (Ghosts That We Knew). There’s no protest or dissent in this folk music, just a good time –– no cheap thrills needed.
–– Dean Gordon-Smith is a musician based in Vernon, B.C. who writes weekly music reviews for The Morning Star.
