“Mumford and Sons” – “Sigh no More”

Mumford and Sons

Sigh no More

By Jonathan Bradwell.

Being a folk band and proceeding from London is a rather unconventional composition, and also profoundly rare. ‘Mumford and Sons’ debut release “Sigh No More” breaks all the boundaries of today’s over produced commercial norm, and takes the countryside to the heart of our nations capital, being an act unlike any other in the latter years. Three of the songs on the album have obtained places in the charts (all below the 50th place mark!), showing Mumford and Sons took the seemingly dated aura of classical country genres, and made it into something that everyone can closely warm too.

It is bashful though that title track “Sigh no More” is placed as the opening track. The first minute of the song is a despondent serenade rolling into your heart with lyrics weeping: “Lived unbruised we are friends, and I’m sorry, I’m sorry”. There are over occasions on this release that thoroughly rupture the heartstrings, but these moments are more discreetly installed. End track “After the Storm” proves to float the album back down to a gliding ryhtm, and also adds an altruistic lasting impression.

When passing judgement on the singles released off of “Sigh no More”, to be excruciatingly poignant, they are sluggishly misleading. “The Cave”, “Little Lion Man” and “Winter Winds” are electric, garrulous and effortless to listen too. However, the album, excluding these three wonders, is staunch and temperamental in places. The commercial vibe leaks away in songs such as “Thistle and Weeds”. Luckily, these tracks don’t particularly put you off the album, but they are an extensive way from where folk music has the potential to wander. Give them a listen, and judge hastily for yourselves.

As pointed out, “Winter Winds” is a phenomenal anthem, commodious to get involved with and just as plain to fall in love with. Marcus Mumford brings his warming lyrics in with his sleek accent: It’s intolerable not to feel affected by lyrics such as “Oh the same that sent me off from the God that I once loved, was the same that sent me into your arms”. With reference to London, listeners from all over the world can get seriously involved with the picture Mumford is proposing to recreate with their general but romantic approach to what is truly poetry.

At one end of the scale is music shaped for people who like reluctant, slow tempo, ambient sound-scapes. On the opposed end of the scale, it’s over produced genres. Mumford and Sons tap into a flourishingly healthy balance, on the most part, with an acoustic blitz of sonatas that is reminiscent of love and loss. Unlike most albums accepting this avenue, the London fourtet can still make you beam. If you are inquiring into an album to put on at the termination of a long day, or after a party; to simply repose and unwind: Look no further, “Sigh no More” will do it every time.

(Picture courtesy of The line of best fit)


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