Showing posts with label mumford and sons. Show all posts
Showing posts with label mumford and sons. Show all posts

Sunday, November 18, 2018

video review: 'delta' by mumford & songs (ft. ARTV!)

So yeah, this was pretty interesting - I think the review might have wound up a bit clipped at points for time, but I think we still got our points across.

Next up, Muse and Anderson .Paak - stay tuned!

Tuesday, May 5, 2015

video review: 'wilder mind' by mumford & sons

Man, I had low expectations for this, but it could have been a hell of a lot better than this... ugh.

Next up, either Chris Stapleton or Ciara, so stay tuned!

album review: 'wilder mind' by mumford & sons

So I've mentioned a couple times that I'm a fan of karaoke - hell, anybody who follows me on Twitter knows I occasionally post semi-witty observations when I head out to one of my favourite watering holes to sing. And one of the songs that I've put on semi-permanent rotation for myself is 'Little Lion Man' by Mumford & Sons - I can sing it well, I know the song by heart, and it's got an anthemic vibe that plays incredibly well to a crowd. One could make the argument that it's the best song Mumford & Sons ever wrote, one of the few where critics and fans could listen and acknowledge that it worked... because not since Nickelback will you find a more passionate and egregious divide between the critical press and the mainstream public than on Mumford & Sons.

And I can see both sides of the matter. When the band broke in the last few years of 2000s, they gained some attention from the mainstream public for having strong singles with anthemic choruses and a ton of rollicking energy that rarely ever got popular... and then in a quirk of fate, they did get some chart success that only increased with their second album Babel, which launched a fair few singles into the charts, won a Grammy, and solidified the folk boom of the early 2010s. And most of the critical set couldn't stand them, seeing them as a pop sellout of 'real' folk music, one of the few genres left where a vestige of authenticity still mattered. And they weren't wrong here: Mumford & Sons were slick and polished despite the folk instruments and image, and Babel was even more so, and even despite the braying howl of Marcus Mumford's voice, the band had nowhere near the grit of acts like Old Crow Medicine Show or the Avett Brothers or any slew of alternative country folk acts.

Now for me the issue was different, because I didn't mind the bluegrass tinged Mumford & Sons sound and I'm a sucker for a great stomping chorus. But the larger problem revealed itself in the framing of the songs in their lyrics - namely that they wrote a lot of catty, passive-aggressive songs about sour relationships and played them all with such serious earnest power to disguise the nastiness of the material. It's why 'Little Lion Man' remains their best song: at least they admit they were the ones who screwed things up, but beyond that? To this day, I'm still debating whether it's an issue of incompetence - the bargain-barrel symbolism would support that argument - or just douchebaggery, but it sure as hell did not make Mumford & Sons remotely likeable. And just like Nickelback, their post-grunge parallel, their material gets formulaic in a hurry if you listen through an entire album front to back.

And thus it wasn't really a surprise to me when I heard that the band had gotten so resentful of their image and the banjo that they ditched them entirely for a straight-up electric rock sound - proving it was transparaent since the very beginning, but whatever. I'll, I wasn't looking forward to this release - I covered the lead-off single on Billboard BREAKDOWN and it sounded like a watered-down U2 wannabe, and I already heard Imagine Dragons try that earlier this year. So I had low expectations, especially considering the best element of their sound - the folk groove - was now completely gone. But even with that, what did Mumford & Sons deliver with Wilder Mind?

Friday, March 20, 2015

billboard BREAKDOWN - hot 100 - march 28, 2015 (VIDEO)

Oh wow, this took way too long to get online - again - but I'm overall happy for it, if only because it gave us 'Bills' by LunchMoney Lewis. Got to love it.

Next up... probably Modest Mouse or AWOLNATION, we'll see. Stay tuned!

Thursday, March 19, 2015

billboard BREAKDOWN - hot 100 - march 28, 2015

You know, it's rare that I get to be surprised much when it comes to these charts. I mean, sure you get your weird stuff that'll show up every week, but seventeen weeks into Billboard BREAKDOWN, it takes a lot to really pique more interest. This week, however... well, I'm not really going to say I was surprised by everything that happened, but more than a few times I was perturbed enough to wonder if things were slightly out of the ordinary. Granted, going into next week given what I've heard about streaming data, I've got a good idea what's coming, but it's always kind of nice to be thrown off-guard a little.

Sunday, August 18, 2013

video review: 'trouble will find me' by the national

So, I normally post these as an edit to my typical review posts, but I want to try something new by having the videos on the main page. If you have any comments regarding the reviews, make sure to let me know whether or not you prefer the old format.

So, in case you didn't take a look at the written album review, this is my retrospective review of The National's album 'Trouble Will Find Me', and where I finally deliver the smackdown on Mumford & Sons. Fun stuff!

album review: 'trouble will find me' by the national (RETRO REVIEW)

So here's the rant you've all been waiting for, the topic of which I'm sure has been seared into your mind since the very beginning: why I, like apparently every other music critic, thoroughly hates Mumford & Sons with the hatred of a thousand suns. The faux-folk rock band that deserves to be consigned into the flaming abyss, the band that co-opted the image and earnestness of folk rock and turned it into shameless commercialism, clearly one of the worst acts to have every blighted this world today. And I, as a critic with reputably harsh standards, clearly must hate them with extreme force, right?

Well... no, not really. Make no mistake, Mumford & Sons aren't a good band, but they sure as hell aren't the scourge of all music as a slew of would-be hipsters have branded them. They have some natural talent for catchy-as-all-hell melody lines and memorable harmonies, they have a mostly distinctive sound, and they sell all of their material with gutwrenching sincerity (which, believe it or not, goes a long way with me). To me, I've consigned to the rung of 'painfully mediocre', right next to Nickelback (don't even start).

Hmm, come to think of it, Mumford & Sons does seem to strike me as rather similar to the post-grunge act that ruled the rock airwaves throughout the early 2000s. Both bands have a lead singer that sounds like he's delivering his lines directly from his colon, both were accused of selling out to the tasteless masses (believe it or not, this was actually true for very early Nickelback), and both made music that somehow lodged itself in our brains like tapeworms. 

But what I think is most indicative of the similarities between these two bands is a very important concept that I've been skirting about for a while, but haven't found the right time to talk about until now: artistic framing. This is most often conceived as a device for literature and film, where the context can be adjusted depending on how the scene is written or shot, and which can be used to powerful effect by talented directors and great writers. One of the reasons, for example, while many people despise Twilight isn't for the misogyny or the stalking or the Mormon undercurrents, but because said elements are framed in such a romantic light. In the hands of any sane writer, Bella's story could have easily been written as that of a thriller or a melodrama between a very stupid girl and her vampiric stalker, but Stephanie Meyer sets up these events to feel romantic and attractive to Bella, and thus the reader - you know, abandoning appropriate context in favour of the author's wish-fulfillment fantasy.

And believe it or not, this becomes a big issue in music as well. A lot of alarmists tend to look at acts like Eminem and Kanye West and see terrible, reprehensible human beings promoting messages of misogyny, homophobia, and violence - and yet both artists have made it clear from the very beginning that they aren't role models and that nobody should aspire to be like them (hell, Eminem wrote several songs about it). They (or at least their artistic personas) are assholes, and we shouldn't so much glorify them as recoil from or pity them (that's the one big reason that I give a pass to Relapse, an album that seems designed to make Slim Shady look as pathetic and wretched as possible). Of course, the question then becomes that some people will interpret the surface themes of the album anyways and follow their manifests of hatred anyways, but that's a trickier topic for another day.

So coming back to Mumford & Sons and Nickelback, the same problems with framing crop up here too (albeit significantly more with Mumford & Sons). We're expected to buy into these acts as having sensitivity and/or more heartfelt emotions, and it feels completely disingenuous with Nickelback's humourless and sour delivery and Mumford & Sons' consistently terrible lyrics. You don't buy into the emotions they're trying to convey because some element of their framing completely shatters that immersion. It's why I'd argue Nickelback has actually slowly been getting a bit better over the years: they've actually embraced the fact that they're douchebags, and are just rolling with it to create douche-bro party anthems that at least feel authentic (if a little gross).

Mumford & Sons, unfortunately, haven't quite reached that point of self-awareness, which I think is one of the big sticking points for me with the band. They deliver all of their material with the heartfelt earnestness of a man proposing marriage in the mid-1800s, but their lyrics are rife with lines that undermine this earnestness at every turn, which makes it look all the more like a pose (also, their music has little-to-no instrumental texture and the production is pop as all hell, but that's another issue). And more than once, I've wished that we could find that band that had all of the earnest sincerity of Mumford & Sons, but had the lyrical context and texture and was framed in a way that made sense or added additional depth.

Ladies and gentlemen, let me introduce you to The National, the indie post-punk act for which I was waiting. Now I suspect that many of you actually already know this band (particularly if you watch Game of Thrones), but I just discovered this band and considering they're easily one of the best acts I've discovered in a long time, I want to talk about them at length. Make no mistake, considering my luck approaching indie acts this year, I was more than a little surprised by how incredibly solid The National was, particularly when placed in competition with their lesser contemporaries, and they pushed a lot of important buttons for me.

For starters, the lyrics were audible and high enough in the mix to make out, and occasionally there was some real emotive poetry hidden behind the clever turns of phrase. I wouldn't quite say it's as descriptive or lurid as that of Nick Cave & The Bad Seeds, but it's not trying to be either. The National is very much a 'mature' act, and like Deep Purple from earlier this year, they transform that maturity into a real strength that adds poignance to their lyrics. You can tell through the placement of the vocals that The National began as an alternative country act, and the importance placed on lyrics and the 'older' subject matter comes through here as well. More importantly, The National are smart enough to frame their songs intelligently, making sure that if their song's narrator could be interpreted as an asshole or a prick or a loser, he's appropriately positioned in that regard, supported by both lyrics and instrumentation. And considering how many songs The National writes about sad-sack losers who have screwed up their lives, they've nailed the formula down to a tee.

But what I find significantly more interesting with The National comes through on the other underlying theme of the majority of their work: upper class Americana, and the existential ennui that comes with it. Admittedly, The National do a very solid job speaking to all demographics, but with the highly literate songwriting and richer instrumentation, it's very clear they're targeting a certain college-aged yuppie hipster group within popular culture. And as with before, it comes back to the framing for why this works, both skewering the nastier elements of these subcultures (racism, classism, misogyny, antiquated value systems, etc.) and still writing music for the more perceptive of the audience to find the distinct sadness in said characters. In comparison to Vampire Weekend (who treat their privilege like a family heirloom only they are allowed to play with), The National are more blunt and don't hesitate to cast their narrators as just as sad, pathetic, desperate, and lonely as anyone else, and it's a testament to their excellent instrumentation that you're actually able to sympathize instead of scoff with derision at 'white people problems'.

All of that being said, I do have a few issues with The National. The band has occasionally recycled instrumental themes (which can get exasperating) and musical dynamics, which can lead to some songs running together. And as often as Matt Berninger has been compared to Nick Cave for his delivery and uncompromising framing, I'd argue he doesn't quite have the same emotional range in his voice that Cave does. Granted, he pulls off depressed and morose very well, but anger still occasionally seems like a foreign emotion to Berninger and that can get frustrating. On top of all of that, with similar thematic elements running through their previous five albums, it would be nice to see them switch up the formula, go for something darker or in a different vein entirely. Otherwise, it just feels like they lack imagination.

So, what do I think of their newest album, Trouble Will Find Me?