After a prolonged break from the music scene, Mumford and Sons have banded back together and finally churned out a new album for eager ears to receive. Wilder Mind, the third album from these alt-rock darlings, hit our airwaves in early May and is the first full-length record from the band since chart-topping album Babel in mid-2012. For anyone vaguely familiar with Mumford and Sons’ music, the disappearance of their infamous folk-rock sound comes as a big surprise.

‘Believe’, the debut single from Wilder Mind, was released in March and faced an incredibly mixed reception. The heavier sound, featuring a twangy electric guitar solo, left both critics and fans shocked. The distinct lack of a banjo, the instrument which originally set Mumford and Sons apart from the monotonous similarity of popular music, had stunned listeners. Yet, more than ever, the change in Mumford’s sound left new and old listeners alike completely enthralled and curious about the band’s experimental direction.

Wilder Mind kicks off with the sprawling, rolling drum-and-guitar combo of ‘Tompkins Square Park’, instantly leading you to second-guess whether or not these are the same four musicians who grew to fame under the welcoming genre of happy-go-lucky folk music. Despite this, all doubts are melted away as Marcus Mumford’s distinctive vocals hit, adding a flavour to the tune which is undeniably ‘Mumford’. The compelling lyricism and charming composition, characteristic of previous albums Sigh No More and Babel, surface from beneath the tumble of freshly electric instruments and provide a dose of the known and loved Mumford sound.

The album rolls on through upbeat chart-climber ‘Believe’, before powerful, punching tune ‘The Wolf’ reminds you just how infectious and catchy Mumford and Sons’ tunes are. Despite the lack of folk instruments, the first few tracks reveal the band’s impressive ability to maintain a sense of fluidity and consistency throughout their albums, through their distinguishable drum patterns and blissful vocal harmonies. Said harmonies shine through in ‘Just Smoke’, a more nostalgic tune featuring banjo-style electric guitar playing.

The emotion-drenched vocals of slower ballad ‘Monster’ provide a welcome breather from the racing, upbeat nature of the album thus far, as Mumford and Sons prove once again that they can master a distanced, mature approach to song writing. This track is followed by the reflective ‘Snake Eyes’, showing a glimmer of Mumford’s older music gliding across its soundscape. Building through tactful drums and brooding vocals, the song is already half-over before the crux hits: an insane flurry of urgent drums and hurried guitars, darting riffs and a stuttering bass line. Though fans of Mumford’s back catalogue may be taken aback by their new-found reliance on electric guitar, it adds a different texture which will doubtlessly captivate crowds across during their heavy global touring schedule over the next few months.

‘Broad-shouldered beast’ sounds completely alien in its first moments, but the fast-plucking guitar style and unmistakeable vocals bring it straight back into orbit. The introduction of acoustic guitar is unexpected, and acts as a reminder of just how plugged-in Wilder Mind is. Towards the end of the tune, a bizarre melange of stringed instruments rears its head, giving off a faint whisper of Sigh No More and flooding the tune with positive vibes and beautiful, organised chaos.

Wilder Mind takes a turn with the steady power of ‘Cold Arms’. This stripped-back, tentative song provides a minor, mellow contrast to the fast-paced positivity prevalent amongst most other tracks included on the album. Though it seems as if a jumbled array of other instruments are on the brink of jumping in, the song remains blissfully sparse; a sole guitar accompanies Mumford’s raw, apologetic vocals. One of the major appeals of Mumford and Sons’ music is its ability to maintain a sense of honesty, compelling the listener to engage with what they’re hearing. ‘Ditmas’ continues this ideal, but picks up the tempo and mood again with a constant presence of drums and wave after wave of fantastic instrumental noise. ­

‘Only Loves’ carries on the baton of crazy, full-on instrumentals, but instead begins with smooth vocals and a faint synthy soul before a gentle guitar and harmonies slink in. Well-chosen album closer ‘Hot Gates’ provides a simple, atmospheric juxtaposition to the buoyant tunes from the beginning of the album. This sentimental song swims through fuzzy guitar and an extended, warped outro; seeping into your skull in waves of fuzzy reverb.

Instrumentally, it’s completely different to their older work; but beautifully similar in song composition. Mumford and Sons have found a new niche in which to put themselves with Wilder Mind, once again proving their worth as leaders of the pack in the British alternative rock scene.

Mumford and Sons’ ‘Wilder Mind’ is out now via Dew Process.

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