Mumford and Sons - Delta

Mumford and Sons - Delta

 Everyone's favourite folk/country/bluegrass/rock quartet return with Delta, their fourth album following from the somewhat disappointing Wilder Minds. Few would admit it, but Delta had more importance than was vocalised, given the short temper of the modern music fan. The British folk heroes needed a home run. Thankfully, Mumford and Sons (M+S) embrace both change and their roots on their latest album, writing some of their most enjoyable work in years.

Long gone are the hand and feet percussion sections, which has only improved their sound. Adding a drum set on their last album allowed for the removal of constraints and the opening of new doors. However, taking full advantage of this requires absolute commitment, something that Delta provides and Wilder… lacked. While retaining the toothy, stadium-style sing along ethos that they are known for, M+S are now far from the one trick pony of Babel (an impressive trick it was albeit). For instance, the heartfelt ballad of Woman is the poppiest that the West London group have ever been. Ghostly backing vocals, soul-bearing vulnerability and an unfamiliar inclination towards subtlety is a spit in the face of the Glastonbury style hyperbolic choruses found in Babel. Indeed, the progress made by M+S deserves recognition. Once, there were gimmicky, crowd-pleasing twangs and (frankly) unbelievable rancour, punctuated by out of place curses (I’m looking right at you Little Lion Man) against a backdrop of chubby friendly faces. Now there is electricity, perceptivity and depth.

Nowhere is this truer than the midpoint of Delta, which sees a combination of modern elements and new life atop a bedrock of folk and bluegrass roots. The folk/synth fusion of Rose Of Shannon is a breath of fresh air, while the pounding, alien fear of Darkness Visible would sound more at home of a Muse record. Both were welcome and intriguing additions. Still though, even with the punch of their new additions, M+S are in no rush to abandon the soaring, omniscient folk choruses and climaxes that made them one of the most popular acts in the world. The subtle opening and cloud bursting, orchestral crescendo of The Wild seems to demand an audience of thousands.

 Granted, a perfect album this is not. Familiar elements border on repetitive at times, as chief songwriter Marcus Mumford seems to have run out of metaphors about seven years ago. Furthermore, certain songs are outright forgettable. October Skies reeks of filler and Picture You warrants a mention only in that I advise you to avoid lingering till the end.


Ultimately, however, Delta is an impressive return, with enough fresh material and familiarity to keep things interesting and arresting. While not exactly Dylan going electric, the conscious step in a new direction is brave and, most importantly, good. Well executed and still retaining their endless, pan-human optimism, Mumford and Sons have another winner on their hands.  

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