ALBUM: MUMFORD AND SONS - BABEL

Grab your banjos and get your feet a-stamping, the new Mumford and Sons album is here! After the success of Sigh No More, second offering Babel is arguably the most anticipated album in ... well, ever. Three years have passed since the Sons' debut hit our ears, and it is clear to all that listen to Babel that the band have taken their time over the 'tricky second album' and lovingly crafted it to their own liking and nobody else's. This is evident from their statement as they released the album to the masses: "Whether it's what you expected, what you hoped or what you dreaded, or none of those things, we're happy with it so here it is." It is refreshing to see a band make music for themselves rather than making what sells.

It turns out, though, that what worked for Mumford and Sons last time around and what they have made this time are still fairly similar, with a few additions. This will not come as a surprise; lead single 'I Will Wait' confirmed as much, but this does not lessen the effect of the songs composed here. The forceful kick drum rhythms are still present, but some tracks encompass a fuller array of percussion. One of these tracks is 'Lover Of The Light', a possible pinnacle of the album; a song already extensively travelled in a live setting, its potential is fully realised on record. The overexcited banjo is also still an ever-present, weaving its way throughout the album and pleasantly tickling the eardrums. 

The main change here is the manifestation of a self-assurance that was present in spurts on Sigh No More  and is now vindicated after widespread critical acclaim. Every song sounds just that little bit bigger; every chorus swells higher, every strum of the guitar that bit more defiant. 'Below My Feet' threatens to break right through your speakers, the title track pulses with infectious energy, and 'Lovers' Eyes', tender to start with, eventually bursts like the hearts it describes. If you were expecting some sort of reinvention from this album, then you will be disappointed. Babel is Mumford and Sons doing what they do best, and I for one wouldn't want it any other way. 

8/10

Buy Babel here

ALBUM: LUCY ROSE - LIKE I USED TO

Lucy Rose has spent most of the last year touring with good pals Bombay Bicycle Club, and now she takes centre-stage with the long-awaited release of her debut album Like I Used To. The beginning of the record is familiar to those who have been following Rose’s progress; the first three tracks have gone ahead of the album as successful singles. ‘Red Face’ is a strong opener with its well-paced build up to a pleasantly chaotic crescendo and ‘Middle Of The Bed’ is defiant and irresistible. ‘Lines’ introduces the innovative rhythms that permeate this offering; it snakes in and out of several time signatures yet never once feels disjointed.

A solid start is built on by ‘Shiver’, arguably the high point of Like I Used To. The raw minimalism of a lone acoustic guitar and Rose’s heart-breaking vocals would touch the nerve of even the most hardened listeners; the simplicity of it is stunning. ‘Night Bus’, in contrast, has a much more upbeat and triumphant tone; it’s the kind of song you wish was a person so you could give it a big hug. ‘Bikes’ is much in the same vein, and includes a plea for people to “Listen up, listen here, everybody scream out loud” which no doubt will be answered in a live setting. Elsewhere, ‘Watch Over’ is filled with afrobeat influences, perhaps a happy side-effect of hanging out with Bombay Bicycle Club.

Sadly though, all good things must come to an end and the close of Like I Used To falls away into mediocrity. There is no discernible change in what we are hearing; it just seems that by the time we get to ‘Don’t You Worry’ and ‘First’, Rose has run out of steam. ‘Be Alright’ is pleasant enough but falls flat as an album closer, leaving an initial sense of disappointment. However this disappointment must be rationalised and a flat ending does not erase the brilliance that came before it. Like I Used To has been a long time coming, and bar a few hiccups it exemplifies everything that makes Lucy Rose such an intriguing prospect. 

8/10

Listen and buy here

ALBUM: THE KILLERS - BATTLE BORN

It’s been a long time since 2008’s Day & Age, a hiatus which has yielded solo efforts from three of the four members of the Killers. This literal and musical space sets the stage for an intriguing moment in the career of the band; a crossroads, to dip into American imagery. Which way do they turn? What happens next? To answer this question, Battle Born takes to the stage.

And indeed it takes to the stage in devastating fashion. ‘Flesh and Bone’ starts slow and small and erupts into a triumphant chorus, with Flowers challenging the listener with cries of “What are you made of?” It is everything an album opener should be; it instantly grabs your attention and holds it unswervingly. As this beginning is perfectly crafted, so the eponymous final track follows the example of ‘Flesh and Bone’. ‘Battle Born’ is a behemoth, flitting from acoustic verses to choruses stuffed with power chords and massive layered backing vocals, a refrain full of battle cries and fully loaded guitar riffs from Dave Keuning to a stunningly gentle coda filled with arpeggios that dance in and out of each ear. It should be disparate and jarring but it sounds like the most natural combination in the world.

So the bookends are taken care of, but what of the meat of this record? What is unearthed here is much more of a mixed bag. The problems where they arise tend to be problems of unfulfilled potential, and nowhere are these more evident than in ‘Miss Atomic Bomb’. All the trademark Killers touches are here, but there is nothing to elevate the song or give it any kind of distinction. It begins to redeem itself towards the end of the track but then fades out inexplicably, quashing any excuses made for the poor beginning. Elsewhere, ‘The Rising Tide’ and ‘From Here On Out’ descend into full-scale Americana without any real stamp of individuality on them, and on ‘Heart of a Girl’ the band very nearly achieve a successful mellow sound that is spoiled only by the discordant gospel presence.

Hidden in amongst these near-misses, however, are some real gems. ‘Deadlines and Commitments’ is a pleasantly murky song with a strong 80s influence, driven by the hypnotic rhythms provided by Ronnie Vanucci and Mark Stoermer that culminate in a breakdown full of tribal drums and a throbbing bass solo (and really, who doesn’t love a good bass solo?). ‘Be Still’ sees the band veering towards the electronic edges of their creative mind and, combined with Flowers’ particularly excellent vocal performance, makes for a poignant offering. The rule for this record seems to be that when the Killers get it right, they really get it right.

Battle Born is many a mile away from the band’s lauded debut Hot Fuss, and many fans may lament this fact, but change should not be lamented because it is inevitable. The Killers have changed and matured, and throughout their career they have sought to try new sounds on for size. Although they may not always be successful in this endeavour, they should at least be given credit for trying.

7/10

Buy Battle Born here

NEW MUSIC: LONE WOLF - GOOD LIFE

Check it out here

Paul Marshall seems to be on to a good thing here. After a successful pledge campaign to fund the release of forthcoming Lone Wolf album The Lovers, he provided this offering in between writing lyric books and Skype-gigging for some very dedicated fans. It's the perfect teaser for the album; the door into Marshall's masterpiece was already slightly ajar with the release of 'The Swan of Meander' and 'Good Life' gently pushes it open a little bit more, revealing particularly satisfying DIY percussion and simple but effective guitar work. The Lovers is released on November 12th (but if you pledge/have pledged you can get hold of it much earlier).

Lone Wolf
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