They’re a band that the British public love to sneer at, but they say it has long stopped bothering them. And, anyway, they have bigger fish to fry
In Mumford & Sons’ decade-long existence, the band have become synonymous with waistcoats, tweed, tweed waistcoats and, most of all, a wildly popular strain of old-timey folk and Americana. Their Christian-tinged, banjo-fuelled sound turned them into one of the biggest-selling acts of the early 2010s, winning them Grammys, stage time with Bob Dylan and gigs entertaining Barack Obama, as well as spawning plenty of imitators, from Iceland’s Of Monsters and Men to Colorado folk-rockers the Lumineers.
Yet, when the singer, Marcus Mumford, and the keyboard player, Ben Lovett, talk about their new album, Delta, the conversation is littered with references to hip-hop, synths and “chopping up beats” with the studio software Logic. Terms such as EDM and “sidechaining” are bandied about. Mumford – dressed in hipster-issue black, his arms a patchwork of tasteful tattoos – says he started every recording session by listening to the single Jasmine by the enigmatic R&B producer Jai Paul on full blast. The influence of the 80s new-wavers Talk Talk is also noted.
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