By Max Luebbers ’16, Entertainment Editor
Since Mumford & Son’s new single “Believe” has been blaring through my radio every afternoon for the past month, I have become gradually more intrigued by the group’s new direction. The banjos so integral to the band’s identity are gone, replaced by long, drawn-out electric guitar notes. The more recognizable folk-pop style listeners have become used to has given way to a much more alternative sound, reminiscent of recent work by bands such as The National and The War on Drugs. The noticeable departure from formula can be partially attributed to help by Country Day alum Aaron Dessner ’94, of The National, who stands in as a keyboard player for the album during recording. This new change in trajectory is welcome. I respected the ambition and accomplishments of Mumford & Sons earlier works, Sigh No More (2009) and Babel (2012), as the some of the leading albums behind the arrival of folk influences on the mainstream music scene at the start of the decade, but I was never grabbed by their rote use of banjo and fairly generic song structure. However they have shown some clear ambition in this new album, Wilder Mind, and I give them all the credit in the world for this.
I was pleasantly surprised by the sound of this new album. When thinking of broad musical range, Mumford & Sons would not be the first band to come to mind. Luckily, Wilder Mind is a well-crafted alternative album, and, save for some disappointing moments, it largely avoids most of the pitfalls of both groups that try to be accessible and those that try to be artsy. Some truly memorable moments come through, especially in the first couple of tracks. The opener, “Tompkins Square Park”, is easily one of the better tracks. It features a driving rhythm and vocals that are reminiscent of Matt Berninger’s baritone from The National, and blends seamlessly into the prog-rock single “Believe”. “Believe” is one of my least favorite songs on the album. While I respect its ambition to bringing a progressive song to radios everywhere, the vague, existential lyrics and echo-y chorus stray too close to the mediocre rock of generic 2000’s radio. That’s not to say the track is devoid of any redeeming qualities. Again and again I find myself coming back to a specific riff at the climax of the track that takes inspiration from a very similar riff in U2’s “New Year’s Day”. The first half of the album really struck me. The group has again adopted a style that has yet to truly hit the mainstream. However this change in pace is threatened by the last set of tracks. The band falls back into its more traditional song structure, devoid of finesse or restraint. Where once the album focused on the quiet moments and the gradual buildup of sound, it is replaced by near cookie-cutter radio-rock progression. It’s as if Mumford & Sons felt lost without their signature chorus-based songs with loud drums and booming orchestration.
I admire Mumford & Sons intentions. It’s not often that we see a best-selling rock group try to completely reinvent itself. Many of the tracks are genuine pieces of good music and are not shoe-horned in to make an extra buck in the alt-music scene. Ultimately though, they’re still restrained by the omnipresence of the radio listenership and demand for wall-of-sound, orchestral chorus instead of heartfelt verse. Their ambition is also undercut by the other indie-alt groups that accomplish this new sound much more successfully. The War on Drugs and The National are the first that come to mind, and they have both dropped several albums that far surpass Wilder Mind. Like Sigh No More and Babel, Wilder Mind is a good introduction into new forms of rock for those looking to diversify their tastes, but it never pulls you back in for a second listen, and is completely overshadowed by the albums it wishes it was.
Max’s Recommendations:
Lost in The Dream by The War on Drugs: This was a surprise hit of last year. This album, nominated for a Grammy, blends psychedelic sound, progressive rock and shoegaze to create a work that functions well as a whole. I would particularly recommend their single “Red Eyes”. Personally one of my favorite songs, it builds over the 5 minute run time finally into a loud and unrestrained frenzy.
High Violet by The National: I don’t have enough to say about this album. It’s one of my all-time favorites and arguably one of the best alternative albums of the past decade and a half. The music is more refined and perfected then Wilder Mind, and the lyrics infinitely wittier yet more moving and morbid than anything that comes out of Marcus Mumford’s mouth. 2013’s Trouble Will Find Me is also a great choice as it builds on this 2010 effort.
