It's a shame because there's some potential here, especially when the group eases back on the Me Street Band histrionics. Tracks like "Hopeless Wanderer," "Broken Crown," and the vivacious title cut bristle with moxie and self-importance, but feel like a ruse, aiming for the parking lot with the kind of generic, turgid melodrama that always overshoots its mark, leaving another smoky hole in an already pockmarked landscape. Ballsy, pained, fiery, and fraught with near constant references to sin, salvation, and all of the pontifical hopes and doubts that lie between, most of Babel is caught between the confessional and an apocalyptic hootenanny, delivering its everyman message with the kind of calculated spiritual fervor that comes from having to adapt to the festival masses as opposed to the smaller club crowds. Believe (Wilder Mind, 2015) This song is one of the most beautiful songs recorded in the last couple of years. However this for me is the best song by the band. Working once again with producer Markus Dravs, who helmed Arcade Fire's Grammy-winning opus The Suburbs, the Mumford boys have crafted another set of incredibly spirited songs that bark much louder than they bite. Babel (Babel, 2012) It’s true the lyrics are not as strong as the other Mumford and Sons tracks. It's also exactly what they did on their debut, and short of being a little rowdier and raspier, Babel feels less like a legitimate sequel and more like an expanded edition of the former. Simply put, they can bend the relative simplicity of traditional folk music to their collective wills, which is exactly what they do on their sophomore outing, Babel.
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They may lack the lyrical prowess of "The Bard," but they know how to turn a phrase, plant a seed, and build a bridge and tear it back down again without losing the audience in the process. Mumford and Sons return with the follow-up to their double platinum album, SIGH NO MORE, with the release of their latest album, BABEL. and Europe, the band landed boots first at the Staples Center for a rousing performance at the 2011 Grammy Awards that found the smartly dressed quartet tearing through "The Cave," and then backing, along with the equally snappy Avett Brothers, Bob Dylan on a generation-spanning rendition of "Maggie's Farm" that provided one of the better Grammy moments of the last decade or so. After simmering and stewing throughout the U.K. English folk revivalists Mumford & Sons' 2009 debut, Sigh No More, boarded the slowest train it could find on its journey from regional gem to pleasantly surprising, international success story.
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