Ah Mumford, the epitome of uplift. After seeing the band perform live at Leeds Festival 2k15, it was safe to say I was in awe. Their production is second to none and usually finishes with a 6-song encore. But this post exposes my thoughts about the new album, more substantial than usual, and deeper in thought. The fourth Mumford and Sons album, Delta, is a story of mental turmoil with a cyclical narrative, suspended in view. Pianist, Ben Lovett describes the title represents "the four Ds: death, divorce, drugs and depression". The first song poses a lyrical plead to the lover. Poetic in tone singer Marcus Mumford introduces the album with the number 42. The first song title is perhaps a homage to popular culture. In The Hitchhikers Guide to the Galaxy, number 42 is the ultimate answer to life, the universe and everything. However, the sign seems to be more of a personal motif. Mumford sings as if directly to a lover, a friend or a biblical figure, 'we wanna see a sign', asking for answers in his darkness. Perhaps finishing the song with a lack of lyrical conclusion is what sets the rest of the album up nicely. Asking for a 'guiding light' in the last bars leads the listener onto the following song, released as a single.
Guiding light is a classic array of Mumford & Sons instruments working together to create a country-style indie feel. I think if There Will Be a Time and Babel had a love child, the second song from Delta would be precisely that. It's a grower but probably not as successful as its metaphorical parents quoted above.
As the search for the sign continues, the next few songs target different characters that will all influence the nature of the discovery. The third song, Woman, has a calm but melancholic tone presumably aimed towards the troubles of divorce. Saturated by its ambiguity, the voice tires from the unknown. Again, the last verse leaves the listener in the dark, isolating both the woman and the lover to their divorce. The fourth track, Beloved, is a continuation of a troubled love story. However, the story turns from simple love to adoration. The word beloved is perhaps the most idealised form of admiration for someone. The song is a send-off, a note to someone before they leave whether it be physically or emotionally.
"It's not a light lunch", Marshall notes.
Halfway through the album, the band step away from the lyrical emotion towards a more cinematic feel. Some parts of the album feel like film scoring for blockbuster movies, revisiting their old instruments and reaching orchestral standards. One of my favourite moments is the change in rhythm between October Skies and Slip Away. The latter reminds me of Mumford's first album. In Sigh No More, the quartet utilise their upbeat country style to portray an intensely personal narrative. Slip Away is an extended mix of the highs and lows that the band speak of in recent interviews. En route to the foreboding darkness, there is this 'guiding light' threaded between it all. Picture You is arguably the most electronic song featured on the album. The slow clicks moving almost out of time to the vocals add a contemporary touch to the band, emphasising the rawness of the album. The unconventional fit works well here as the instruments add a bit of life to the melancholic sound coming from the singer. Once again the lyrics foreshadow the title of the following song, Darkness Visible, which is satisfying to the ear when reading the set list in advance.
