02-03-2015 17:42 CET Mumford & Sons slipper tredjealbumet "Wilder Mind"

Mumford & Sons slipper deres tredje "Wilder Mind" 4. mai. Første singel ut fra albumet er "Believe" som kan ventes i løpet av kort tid.

Wilder Mind ble tatt opp i Air Studios i London og produsert av James Ford (Artic Monkeys, HAIM, Florence & The Machine). Albumet inneholder 12 nye spor, skrevet av bandet i London, Brooklyn og Texas. Albumet markerer en signifikant endring fra deres tidligere album Sigh No More (2009) og Babel (2012). De merket tidlig i innspillingsprosessen at det unge britiske bandet hadde endret tilnærming ikke bare til tekster og opptak, men til tekstur og dynamikk.

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Mumford & Sons Announce Wilder Mind Details + 2015 Gentlemen Of The Road Stopovers.

Mumford & Sons will release their third album, Wilder Mind, on the 4th May 2015 through Gentlemen of the Road/. It will be preceded by a new single, Believe, on the 27th April.

Wilder Mind was recorded at Air Studios, London and produced by James Ford (Arctic Monkeys, HAIM, Florence & The Machine). It features twelve new tracks, written collaboratively by the band in London, Brooklyn, and Texas. A number of the new songs were written and demo'd at Aaron Dresner’s (The National) garage studios in Brooklyn. The band also returned to Eastcote Studios in London, where they recorded Sigh No More, for further writing and demo sessions. This new album marks a significant departure for the young British band from their previous records, 2009’s Sigh No More, and 2012’s Babel. The early sessions in New York and London witnessed a change in the band’s approach not just to writing and recording, but to texture and dynamics, too. There is a minimalist yet panoramic feel to the new album, whose sound describes as “a development, not a departure.” It came about by both accident, and by conscious decision.

“Towards the end of the Babel tour, we’d always play new songs during soundchecks, and none of them featured the , or a kick-drum. And demoing with Aaron meant that, when we took a break, we knew it wasn’t going to involve acoustic instruments. We didn’t say: ‘No acoustic instruments.’ But I think all of us had this desire to shake it up. The songwriting hasn’t changed drastically; it was led more by a desire to not do the same thing again. Plus, we fell back in love with drums! It’s as simple as that.”

“It felt completely natural, though,” says Ben Lovett, “like it did when we started out. It was very much a case of, if someone was playing an electric guitar, drums were going to complement that best; and, sonically, it then made sense to add a synth or an organ. We chose instruments that played well off each other, rather than consciously trying to overhaul it.”

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