Bands messing with their sound is a good thing. Without experimentation, Wilco never would have gone from A.M. to Yankee Hotel Foxtrot, or David Bowie from the wedgie-receiving troubadour on his self-titled debut to a rock ‘n’ roll sex god with The Rise and Fall of Ziggy Stardust and the Spiders from Mars. But a group needs to realize when the line is crossed between “tinkering” to “WTF is this nonsense.” Call it the Dee Dee Ramone Complex. Mumford & Sons have crossed said line, and left their suspenders behind.
“We definitely had a graduation to go through with the sound that we had through Sigh No More to Babel,” said Marcus Mumford, “and that sound to us feels satisfied. And that’s a sound we’ll always play. The world has been really supportive of those songs, but then there’s other sounds we want to make.”
What kind of sounds? “Like, hip-hop,” Mumford says with a grin. “We really want to rap. We’ve just got so much to say – saying it through a melody doesn’t really work for me. We’ve been talking with Jay-Z about it, you know. It’s gonna be a fresh experience for our band.” Does the band rap in the practice room? “Yeah,” Mumford says. “We’re like, ‘Motherf*cker!'” (Via)
He’s kidding…right? If so, phew. If not, I bet this is just an excuse to make a “Brooklyn’s Finvest” pun. Besides, the perfect banjo rap song already exists.
