Tag Archives: Mumford & Sons

Unsolicited Endorsements XXXVIII

Because sometimes you just want friends to tell you about cool things… the Brew House team offers up its weekly mix of author-supported goodness

Music writing: Ann Powers on Mumford & Sons

Mumford & Sons released its second album this week, “Babel”, the follow-up to the out-of-nowhere buzz album, “Sigh No More”, and a perfectly fine and ordinary record that sounds more or less exactly like its predecessor.

The Mumford & Sons dichotomy has long fascinated me. Marcus Mumford and his friends make what is essentially bluegrass pop—big and layered songs that always seem to start slow and end with booming crescendos. It is music that is seemingly loved by a rather substantial chunk of folks between the ages of 16 and 35. Young professional urbanites. Frat boys. Suburban teenagers. Feminist careerists. (OK. That last one is a major assumption. Deal with it.)

But this is also a buzzband that is, by and large, loathed by critics and hipster tastemakers like Vice and Pitchfork—a band that treads in the same “bigger-than-thou” territory that U2 occupied in the late 80s; the same overly sentimental plot of land that Dave Matthews claimed in the mid to late 90s.

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#MusicMonday: Mumford & Sons

Every Monday morning. Music so good… it must be shared.

This week: “I Will Wait” — Mumford & Sons, off their new, yet-to-be released album, “Babel”.


Well, Mumford & Sons, the British folk/roots/stringy quartet, is just about six weeks away from releasing its sophomore album in America, and last week they revved up the hype machine by releasing this rollicking, “Let’s Go Run in a Field!” track that immediately generated all sorts of feedback in certain pockets of the internet.

On first listen, the song hits all the right spots.

And maybe that’s the thing: If I had to imagine what a new Mumford & Sons song would sound like, “I’ll Will Wait” would be more or less the exact song that I invented in my head. And I’m not sure that’s a good thing.

This is hardly an original thought, of course, but it feels true. The song is everything you want, from the banjo-filled everything, to the crescendo-building chorus, to the tent-revival lyrics.

But there’s also the feeling that you’re being sold something you already bought. Some folks have already proved that it’s pretty easy to rip off (and commercialize) this sound — yea, Phillip, you… — and maybe this just adds to the feeling that Mumford, for all its imagery about running and moving and criss-crossing the country via train, is having a pretty tough time figuring where to go. — Rustin Dodd

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