By Jim Norton
The general trend for labels these days seems to be no more exciting than to follow the phrase ‘If it ain’t broke, don’t fix it’. Basically, find a successful formula and milk it for all it’s worth. Successful female singer with a twist? Assault the pop scene with Lady Gaga’s and Little Boots’. Popular young rap star rhyming over decent old classic? Bombard the RnB crowd with Tinchy Stryder’s and Ironic’s. Whitney-like voice and X factor winner? Lewis and Burke are just the start.
And so it seems that Mumford and Sons are the next in line to exploit the beardy-folk-with-a-penchant-for-tramp-chic market. Whilst Fleet Foxes are back home buying new cords, Mumford and Sons have bought a couple of acoustic guitars, learnt to harmonise, and released an album of autumnal anthems. At times, Sigh No More is almost indistinguishable from it’s american counterpart, but that’s not to say it can’t give it a decent run for it’s money.
‘Little Lion Man’ deservedly got picked up by Radio 1 recently, ‘Winter Winds’ is a gloriously tender horn-filled ode to love, and ‘White Blank Page’ is a grandiose country call-to-arms. Three classics to contend Fleet Foxes’ country-indie crown.
Yet, these highlights fail to continue and the album loses momentum. Mumford and Sons have found a winning formula in recreating the folky sounds of their peers, but when it comes to anything original, the London lads lack the imagination. Too often it retreads the same rythm and structure. Until Mumford and Sons can find their own identity, they will forever follow the trend.