While this may be a bit of a confession, in general, I enjoy Mumford & Sons’ music. It is accessible folk music that has a lyrical depth that, while not genius-level writing, is generally beyond what’s found in popular music today. When Delta hit the primarily metaphorical shelves this past month, I was excited to dive in. My thoughts summarized? Many bright spots and many low spots produce an end result that highlights the Sons’ need for an editor. That said, the bright spots are pretty enjoyable and a few songs from the album will likely be in my rotation for a few weeks.
Overall, I give Delta a 6/10. The songs that will be in my rotation would’ve been a solid album on their own, and likely would’ve moved the 6 to an 8 or 9. Below, a look at the album song by song.
42: The album’s opener immediately unloads with the signature acapella that we’re accustomed to from Marcus & friends. Booming keys dot the growing landscape as the song builds through the first couple of verses…but the song never really resolves, leaving the listener hanging. In the context of the album, it’s a decent opener, but certainly far from a song that stands alone. 42 needs the next song to fully resolve; this is by design, it seems, with the included lyric “I need a guiding light”. It’s a little unnecessary, to be honest, which is unfortunately something can be said for a large part of the album. 4/10
Guiding Light: The first single off the record, Guiding Light is highlighted with a chugging acoustic melody and punctuated with a chorus and bridge that draw the listener into the feelings behind Mumford’s belting. While not nearly as catchy as other singles from M&S, it’s still a decent record. That said, it’s unfortunate that it’s the single, considering the strength of other songs from the album. Hopefully there will be subsequent singles that give the album attention. 6/10
Woman: I’ll reveal my bias here off the bat: this song is incredible to me. The lyrics, the guitar picking, the rasp in Marcus’ voice that isn’t usually present in his vocals, and a catchy pre-chorus/chorus combo make for a really enjoyable track. The Sufjan-esque crooning between lines provide an emotional bent that make Mumford & Sons’ music special. 9/10
Beloved: Placing this track right after Woman was a great call. Woman is heavy and sharp whereas Beloved is a bit more glittery and bright. Utilizing the extra syllables in be-lov-ed gives the word a level of sophistication that the song would otherwise miss. Musically speaking, I’m a big fan of the high-end guitar fill that fits the song’s latter half, and the drums also make their first star appearance on the album here in this solid fourth track. Between Woman and Beloved, it’s obvious that we’re in the meat of the album. The good parts. 8/10
The Wild: If you’re the kind of person to listen to a track until you can’t take it anymore, you may miss The Wild. The first three quarters of the song has Marcus Mumford doing his best Justin Vernon impression which, while above par, doesn’t quite work out. The last fourth of the song however has Mumford & Sons doing their best Bon Iver impression…which does absolutely work out. The strings layer adds complexity to the song which lends it a natural beauty. It seems as if the entire song were written just for the last few measures, which while stunning, isn’t quite enough to elevate the song into greatness. 7/10
October Skies: After a stellar start to the album, I think we hit a low point with October Skies. It’s tolerable but not something I’d put on just to listen to. While lyrically quaint, I honestly think it doesn’t provide anything additional to the album and could’ve been left on the proverbial cutting room floor. 2/10
Slip Away: This song has all the makings of the third single to come off the album. While not the best song off the album (spoiler: it’s Woman), it checks a lot of boxes. It’s very Mumford-ish, is accessible to the general populace, and would tickle the sonic fancy of people who joined the Brit bandwagon so many years ago. A singable chorus and a climax that meets expectations, it’s only harmed by the odd falsetto bridge forced in at the midpoint. 7/10
Rose of Sharon: Hands down the most fun track on the album…and perhaps the most controversial. The titular character is a nod to the Biblical text and the sappy poem from Solomon is almost matched with Marcus’ mushy words. However, the most peculiar thing about this song isn’t the verbiage, it’s the music itself. A West African beat underlies the poetry creating a very catchy musical hook, although very reminiscent of a kazoo chorus. Some find it off-putting, I personally find it acoustically interesting…though the words of romance are a bit much for me to listen along. 7/10
Picture You, Darkness Visible: Forgettable songs that yet again should have been left on the chopping block. Picture You is yet-another-poppy-song that could have very well come out of Shawn Mendes’ mouth. Darkness Visible tries so hard to be an anthem for those loathing but instead makes me loathe it’s inclusion on the album altogether. 1/10
If I Say: Now we’re talking. This second single from the album embodies what vocal battles really do to all participants. I know I came off better than you hit home for me personally, but the composition underlying Marcus becomes ever more haunting as the song abruptly ends after the somber crescendo. This song belongs on a movie soundtrack as the lead character’s heart breaks…or breaks another’s. 7/10
Wild Heart: Meh. Yet another song with Wild in the title, yet another song that could’ve been cut from the album. The keys are simultaneously the standout and the letdown here, constantly dancing in the background but never becoming the star of the show that they’re meant to be. This song sounds like it could’ve been recorded live in a saloon, which would have been much better released as a candid Youtube video than as a produced track on an album. 4/10
Forever: The full band really hits here, and I appreciate the harmonies on this track…but the writing is subpar. Do it for the girl is pure eye-rolling cheese and nothing else on the track really makes up for the seemingly phoned-in lyrics. Considering the vocals on the track, it’s really a shame. 4/10
Delta: What a way to end an album! The songs leading up to this title track were mediocre at best, but I’m glad that I made it to the end. The interlude is thoroughly enjoyable, Marcus’ voice really shines through here, and while the lyrics aren’t exactly mind-bending, they’re emotionally charged in the way that we expect from the boys from West London. 8/10