At first, I decided that I wasn't going to like Mumford & Sons. I don't know why, but I was minded that mainstream folk music was going to be pretty awful. I have since re-evaluated that opinion. Theirs is a sound which transcends folk, moving it onto a whole new plain. Opening track Sigh No More initially gives the impression that the song will tend towards being a little earnest and worthy for my liking, but then the captivating quality of Marcus Mumford's voice and then, as the song reaches its crescendo, the musicianship of the whole band which creates an incredible sound. Trumpets, banjos, strings, guitar and voice all combine to create an incredible sound.
The Cave is the song which really launched the band to the upper echelons of the charts. The phenomenal harmonies and quality of songwriting is as evident here as ever. The surest sign of the quality of this album is that, during each song, you don't want to stop early - you would stay in the car to hear the end of the track, as breaking the sound of this band in full flow would be something of a crime. Winter Winds is another song track, with a rousing chorus, which you will recognise from its playing ad nauseum on all forms of media. It is a slightly slower track, which is complimented nicely by a trumpet solo at the end. If this song was a film, it would be an epic: it has a monumental feel to it. Roll Away Your Stone begins with a lovely picked melody, before the muffled and purposeful strumming in the verse takes us into a fistfight between each instrument for a grab at the limelight, but in the end, as the cliche goes, they are all winners. A phenomenal track, not only because it is different to what we would expect from an album which reaches no. 2 in the UK charts, but also due to the fact that, when listening to it, you feel a part of something special. In a previous album review, I mentioned the phrase 'epic noise'. This song has it in spadefuls.
White Blank Page is a gentle track which cleanses the pallet from the previous tracks, before coming into its own, with a climax worthy of any of the songs on the album. It's not the best track on the album by any means, but it is still very strong, and tells a story in its own right. I Gave You All is a sober and sombre tale. It is soft and gentle for the most part, with Marcus Mumford's voice taking centre stage from his band mates, before a spine tingling harmony removes all notion of gentleness, translating it instead into frustration and anger at the lover to whom they 'gave all'. Little Lion Man's opening 10 seconds leave us in no doubt that we are in for a treat. It does not fail to disappoint. It features a sing-a-long chorus and a banjo riff which compliments the harried, yet complete sonic landscape of which Mumford & Sons are the budding architects. It is the only surviving track on the album from the band's debut EP, but it isn't half good. The harmony which captures the ear, and the heart, for the latter parts of the song is mind numbingly good.
Timshel is the tonic to the last track. It provides us with a chance to reflect, without it threatening to perform the runaway train impression which many of the other tracks perform when tending towards a fast paced climax. Instead, we are allowed to let the song wash gently over us. This provides the perfect point in the album to take a quick rest. Thistle & Weeds continues this easing of pace, but with a darker tone which tends towards a fearsome finish with a nigh on screaming Marcus informing us that he 'will hold on'. If there has to be a weakest track on the album, this is probably it. The last minute sounds like the soundtrack for a film including a big battle, which perhaps doesn't fit seamlessly within the context of the rest of the album. Awake My Soul is formed in the way which we may expect. Start soft, end epic. It's maybe their take on Westlife's 'stand up on key change' formula, which has brought them success. There is no denying that this is a tender and emotion packed track. Again, it is the harmonies which prove to be the highlight in a stomping finish to the track, which is upbeat and simply brilliant.
Dust Bowl Dance follows the 'gentlegentlegentlegentlegentlegentlegentleEPICBANG' formula just noted, this time with a finale and heaviness to the sound which might not be expected on a mostly folky record. It is the bit which might put some listeners with more frail musical tastes on hold with their appreciation of the song, but, for me, it feels right. After the Storm is a completely earnest affair, contemplating mortality and loneliness - 'I'm scared of what's behind and what's before.' The vocals take on the mantle of being a lecturer - 'There'll come a time, you'll see/ With no more tears/ and love will not break your heart.' This echoes of an old, wise, head passing on advice to future generations. This song is at its strongest for the melody and heart it provides. Given the rest of the album, I might have liked it to go out with a bang rather than being somewhat understated, but this is a minor mark against an incredible album. Sigh No More was rightfully nominated, and frankly robbed, of the 2010 Mercury Prize. It offers a sound that I have never found anywhere else, be it on my iTunes voyages or speculative purchases of albums, but one which, more importantly, has definitely been missing. The real measure of Mumford & Sons as a band will be whether they can follow up on this spectacular album. I hope they ace it.
9.0/10
******Special Recognition*******
This album makes banjos cool again. Something we can all be thankful for.
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