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Mumford & Sons- ‘Love Your Ground’
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Let’s not bother with too much of an introduction or prelude to Mumford & Sons’ debut, Sigh No More, and instead cut directly to the fundamental problems with the record. It’s dull. It’s limp. It lacks character. It has more than a little of the try-hard about it. Despite this, much will be picked and playlisted on the BIG radio stations across the land. Jo Whiley is kicking herself she can't hammer it to death every morning. Fearne Cotton probably will. They're even looking likely to surprise with a high-end chart position come the end of the week. Yet, there’s an appeal deep somewhere; this is almost an anomaly. This is not so much an irretrievable mess as... a salvageable one.
Now for the positives. What is done well – to a certain extent – on Sigh No More are not the epic faux-downs, with which we are overindulged, but the understated and bare-bones harmonious efforts. If you like your folk expansive (think Fleet Foxes...) you may well get a fair few kicks throughout the record's 48 minutes. They may be gentle kicks, but toe-pokes nonetheless. ‘Timshel’ is an exercise in the above practice – it being the most simplistic, least ambitious and most stripped-down thing to be found and, as a result, it stands out as the finest. ‘Thistle and Weeds’ too eschews the overpowering unity in favour of bleak, minor-key sparseness, to palpable effect. Sadly, annoyingly and frustratingly, other points such as the title track are watery in substance beyond redemption.
Although lacking in impact, the individual elements are not especially poor – songs are written and constructed well, the instrumentation is there or thereabouts, and variety exists. But when pieced together, part by part, it all becomes almost impenetrable, emotionally or musically.
The stumbling blocks which litter this record from start to finish are quite likely to be the same aspects and angles which some will find the most appealing. One irksome criticism from press and public alike is of the band’s upbringing. Too much has been made of the background – I am unable to comment, assumption being the mother of all fuckups and all - but, whatever the case, it’s a moot point, especially when there are greater problems.
This is not an attempt to undermine any fans Mumford & Sons may have, more a half-arsed dig at the situation at hand. Said situation is the perennial issue of a record being an 'acceptable' and clean version of the music that band/artist in question is said to be influenced by or are part of. In Mumford & Sons we’ve an act who are, at least ostensibly, a folk band but the comparison that somewhat clumsily pops into the head is Nickelback. Nickelback. Nickelback. Mumford & Sons seem to be to folk what Nickelback are to grunge. This thought is a constant thorn in this listener’s side, even through the record’s brighter moments, notably the anthemic ‘Little Lion Man’. The remainder, however, blends into a grey mess of acoustic guitars, brass, banjos and overwrought earnestness.
It may be the case that Marcus Mumford and co. recover astoundingly from a less-than-overwhelming debut with a release that is twice as good next time round. In fact, if they manage to tone it down by, say, around 15 per cent and reject the sparklingly clean niceness which abounds, it’s almost likely. This happened to fellow Brit-folkers Noah & The Whale, whose debut, Peaceful The World Lays Me Down has been exceeded significantly by this year’s The First Days Of Spring. That band too had radio appeal and acoustic guitars. Despite any popularity which may come their way, what Mumford & Sons have produced in Sigh No More is nothing more than an empty shell of a half-decent record.
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Share on FacebookI just don't get it.
I have been brought up on folk and listen to a lot of modern folk bands that are around at the moment and think Mumford and Sons are a breath of fresh air. I thought they were the next 'big thing'. Especially in a time where I happen to think the Fleet Foxes are sounding pretty stale. But 90% of the reviews I'm reading for Sigh No More are really having a go. I'm confused. I know that reviews and reviewers are generally fucking twats but I can't have got the band/album this wrong??
All Will Be Well
What's with the fact that no one has mentioned the Custom Blue album 'All Will Be Well' at all? Got to be the best release of the year, pure Americana folk...
Any road, now that's off my chest, I quite like this album...
No you haven't
I think this will be an album that people actually like, reviewers will hate it because they don't want to run without the herd and ruin any chance they have of writing for the observer music monthly or whatever. Plus it's folk, which some find quite difficult to quantify, let alone listen to.
Having a vaguely upper-middle-class background will also make you filth to the media. Which I never understand, why does being poor, make you a more credible musician? Joe Strummer was the son of a diplomat wasn't he? Sonic Youth probably have a few bob now eh?
5/10 is a ridiculously low mark for what is a well put together and enjoyable affair. To compare them to Nickelback says it all really. If The XX gets a chuffing 9 then ....etc etc
um, he does take pains to say background isn't an issue!
My problem with them is that they kind of sound like a Tesco Own Brand Fleet Foxes. Though I can see why that might appeal.
It does seem odd
how the same press who had such a hard-on for this band mere months ago are now dismissing their debut?
Personally, I never warmed to them from the start. The British folk flag is held beautifully aloft by Fanfarlo and Jonquil. Far superior records.
Ecstasy & Wine
What this world needs is a folk version of the My Bloody Valentine LP 'Ecstasy & Wine...' Fact.
having seen these guys live
and having a shameful penchant for folk and earnestness, I like them. But the album demonstrates a misunderstanding of their own charms - it's too clean and does not cohere. I've always felt there was a naivety in their lyricism, awkward places where style overtook substance - but I've never doubted their genuine intentions and there really is something welcome about what they do. Trouble is, it's all fine being a band that 'everyone loves' when you're dealing with small tribes of people following the live music, but with all this media coverage they are simply out of context. I do hope you're right about the possibility of better things to come - with an interesting producer and a good kick up the rear they could well make something special one day...
I did notice that
If he's not bothered by it, why mention that there has been any criticism of their background at all? It's a review of the album isn't it? not the press reaction to it?
The Fleet Foxes thing is noticeable, however I think M&S (which as an acronym does nothing to help them) have a far more rollicking approach. I don't remember many hoe-downs on the FF record for example.
Not JUST the press reaction though, like I said "press and public".
And it irked me because it's not really a valid criticism.
Well I still think it's a decent record. I'm kinda glad I've got something to argue about, the amount of pish swilling shite that gets touted as genius from reviews these days. However I bought Efterklang and Peter Broderick also yesterday and both are better.
What we have to remember is that....
Most reviewers are a gabble of sycophantic, trend humping, quasi-human shitcreeps. The kind of people that I notice sitting, macbook pro open, in the window booths of cunt shacks masquerading as cafes.
I don't care what you think. You are most likely an insufferable tossrag whose very existence indelibly tarnishes the world's already questionable track record.
I listen to music, I decide if i like it. Your opinion is nothing.
message for Mark-E-Moon:
shit off.
it doesn't exactly sound like
the reviewers opinion is nothing to you. Seems like you've been personally insulted.
I don't own a macbook.
Pro or otherwise. And I don't go to cafes, or hump trends.
But everything else is right.
How refreshing
The comments for most reviews on DiS read simply "good review, I do, of course, agree". Nice to finally see that the opinions of the reviewers aren't viewed as canon.
I'll listen to this with an open mind
I tried listening to some earlier EPs of theirs, didn't like them, but thought I'd go and see them live anyway.
Their live show was much, much better than I'd anticipated, so I'm looking forward to listening to this very much.
Their EP got an 8
And two of the tracks on their EP are on this album.
.
Just saying I don't know how an album with 2 8/10 tracks can slip to a 5 :(
i was only joking.
If i wasn't such a povo i'd have a macbook pro.
Wrong, wrong, wrong.
Just because an album is instantly satisfying does not make it a shallow experience. I am a big fan of the modern folk scene and this band seem like a breath of fresh air. The fact that they embrace more conventional pop structures is, dare I say it, exactly the kind of thing that more rambling contemporary acts could do with.
A Nickelback comparison?! Very, very harsh
I bought this album the other day and am enjoying it very much so far.
Sigh sigh
sigh sigh sigh
This music just makes me sigh.
It's just such annoying music - gets in your head like a fly.
It's because most journalists are former private school kids
from monied backgrounds, but are terrified of their readership discovering this so the play up to this ridiculous class war lite.
Wrong place..........
and not aimed at the reviewer.
(no idea where this will appear, but at Alex)
You really think 'most journalists' went to private school? I suppose a fair number probably did, but I think you're giving the profession more credit than it's due (or at least, music-wise - don't private school kids tend to be successful?)
read the iTunes reviews
this is the album of the decade. i really don't get that the reviews of this album haven't been raving. the press have either:
a) decided that the 'new-folk' genre is over and they're about to jump on a new bandwagon,
b) they're all copying each other
c) they're scared to like something that is on the national radio playlists
d) decided that it doesn't sound as wild as animal collective
either way, it's a 10/10 album, so the mediocre press reviews can simply f*** off. and yes, i am personally offended by the reviews, such is the level of emotion i have invested in this album and band. for the first time in a while, the fans are spot on, so stick with the iTunes reviews.
will be very interested in how the press rate the next laura marling album in february, the next folk classic, and see if they are painting from the same brush.
steve
read the iTunes reviews
this is the album of the decade. i really don't get that the reviews of this album haven't been raving. the press have either:
a) decided that the 'new-folk' genre is over and they're about to jump on a new bandwagon,
b) they're all copying each other
c) they're scared to like something that is on the national radio playlists
d) decided that it doesn't sound as wild as animal collective
either way, it's a 10/10 album, so the mediocre press reviews can simply f*** off. and yes, i am personally offended by the reviews, such is the level of emotion i have invested in this album and band. for the first time in a while, the fans are spot on, so stick with the iTunes reviews.
will be very interested in how the press rate the next laura marling album in february, the next folk classic, and see if they are painting from the same brush.
steve
This album is terminally dull,
It's all about the veneer of their aesthetic and not much else -the absence of any desire to actually step off a metaphorical fence renders them impotent.
I do have one complaint with the review though, and it's around an issue that I had hoped had disappeared following Amiga Power taking it up: why, oh why does such a (deserved) negative review warrant a score of 5/10? Average does not equal 7/10!
I can't follow the logic in this bit:
"this will be an album that people actually like, reviewers will hate it because they don't want to run without the herd and ruin any chance they have of writing for the observer music monthly or whatever."
What? Reviewers will hate it because they don't want to not like it like everyone else? Huh?
I'm surprised.
I heard these guys on Colin Murray ages ago and loved them immediately. I liked their session tracks so much that I recorded the show, and accidentally started playing it earlier today, and was reminded why I liked them; it was so full of energy, the rawest music I've heard.
I liked the band so much that when I heard they were coming to a small pub in my town I was there, and I loved it, because even though there wasn't space to move and half the people were drunk, the music was fantastic. I haven't heard the album yet, I hope to get it on vinyl, but I find it so hard to believe that the songs could sound flat and dull, unless the producer did something horrific.
5/10 just doesn't sound right at all. I like Fleet Foxes, but I would have thought the M&S songs I've heard are better than most, excluding Mykonos and a few others.
Within a year -
- the music will remain, the review will be but a distant memory. Who ever remembers reviews anyway? The only reviews that are in any way guaranteed an iota of immortality are those "misinformed mistakes" - terrible reviews of things now regarded as classics. The Dark Side of The Moon was, for example, almost universally panned upon release. (Cue tedious and predictable onslaught of "and it remains universally panned to this day" comments - or whatever).
The point is, a review is but one person's opinion and is, therefore, completely and utterly irrelevant. It's the music that counts, and the notion that people might still want to listen once the buzz has died down. In regards to Mumford and Sons - I think they will.
Well, that is the trouble with scoring music in general.
It also forces the reviewer's hand somewhat but to give this 5/10 was a fair result, I think.
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