Mumford and Sons Display New, Rougher Sound in Wilder Mind

The speculation has been roaming about on how the newest Mumford and Sons album would be like, specifically because the band took on a new sound that’s much different from their well-known banjo, standing bass, and kick-drum days. The London-based band finally released their much-anticipated album, entitled Wilder Mind, on Monday, and it is blatant proof that the band can be chameleons with their sound and still make it really work. Compared to 2009’s Sigh No More and 2012’s BabelWilder Mind (released through Glassnote Records, Island Records, and Gentlemen of the Road) stands on its own, combining different elements of funk, alternative rock, and just a hint of that folk that the band has been known for since the beginning.

There were some songs that really stood out and represented the album and its overall sound. “Tompkins Square Park,” the album’s opener, right away gave that up-tempo alt-rock sound, but still has an eerie sound mostly because of the kind of distortion used on the guitar. “Believe,” the first single off of the album, follows up with a slower pace for the most part and still holds on to that eerie sound (there have been initial comparisons to Coldplay’s “signature” sound).  “The Wolf” really hits hard with all the instruments involved, especially at the last couple of minutes of the song where the band belts out “I want to learn to love in kind/’Cause you were all I ever longed for”  while every instruments is played forcefully. “Broad-Shouldered Beasts” had that tinge of folk mentioned before because of the kind of strumming used and the rhythm of the song, as a whole. The strumming is similar to what was on “Hopeless Wanderer” from Babel. 

Wilder Mind has really shown how much the band has grown musically since their last album, but could have really used more up-tempo songs or, at least, a better balance of up- and down-tempo songs like Babel had, but that’s really its only fault. The album definitely has so much heart and meaningful and deep lyrics, while also adding a sonically eerie/calm sound with the combination (and new addition) of awesomely distorted guitars and bass. The banjo, standing bass, and kick drum will be missed, no doubt, but this new chapter of Mumford and Sons, musically, seems like a hopeful one.

Featured image courtesy of the Artist

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