Petting zoo

Of course, that sounded good. It is always to be commended, if someone wants to make a difference, the deadlock despised, perhaps even promised to make amends. Marcus Mumford has been well aware, could it be fine so long no longer liked the success of their second album Babel recognize only reluctantly criticism, too, it had the tape in the tranquility of their wellbeing Folks made themselves comfortable. The arenas were full, but the songs had already clearly lost the originality and strength of fine debut Sigh No More. In addition, the London seemed more and more exhausted from Tour Operating change was needed. Good idea. Nevertheless, one should have been suspicious when appeared on the cover of the new album this Notting Hill park bench in front of a romantic city setting. And with the latest news, Mumford would find the band's name now quite panne and would in future any acoustic instrument, especially this oh-so-hated Banjo, banish from the studio and on the stage, had to be careful. Now that the supposedly wild thing is out there, you know why. After all, the four have indeed put a lot of electronics in their songs, have taken great pains, the pieces to miss a modern outfit alone: ​​unfortunately has nothing on the mediocrity of the compositions changed. Compliant rippling and pluckern them to a past, pretty arranged, but interchangeable and obediently as before. To demons it is to go and you can hear all sorts of ghastly creatures: broad-shouldered beasts, wolves, snakes, monsters even threatening all that is hardly, it remains a petting zoo. Assuming here the music of The National, the abysmal soul woes of Matt Berninger for comparison, the difference becomes even more evident. Where this is actually struggling and strife, Mumford remains in its romantic, smug pose arrested ranging perhaps for a comfortable shower or a warm summer night trip. Lasting impression hardly leaves it. Whether with or without a banjo. mapambulo: blog