This album has a super solid, rustic start with “42”. There are some harmonies that are actually really stunning, and even Marcus’s use of vocal effects here are so tasteful. It’s a smooth track, one that is definitely still in the sort of mindset of the “Wilder Mind” era. There are some groovy guitars and epic keyboards, not to mention as always, Marcus comes off incredibly passionate. All around, I really dig this as an intro. It’s a very different beat and much more of a cinematic sound for Mumford and Sons. But they pull it off wonderfully with some gigantic instrumentals. And things end up getting seriously epic in the last 40 seconds or so. Now, “"Guiding Light”” drops a lot of the big, epic instrumentals and experimentation. No, this one is Mumford and Sons by the books. It’s smooth and reminds me once again a little bit of the material from their last album. It’s heartfelt, sweet, passionate, and all sort of things. But while I’m still very much into this, I can also see a ton of Mumford purists being into it. And hey, this one still solves a problem that a lot of people had with Mumford and Sons over the years, and that's their lack of adventure. But hey, I’m digging this. This album continues to rub me the right way with “Woman”. Honestly, I can’t help but actually get all warm and fuzzy listening to this one. I love the plucked guitars in the background and the woozy electronics. And Marcus’s performance here is absolutely stunning, in a different sort of way for him though. Like, here, he has this absolute sense of “cool” to him, and I can’t help but get all swept up in this very breezy chorus. It’s a little bluesy, but most importantly it’s very tender and heartfelt. This is a GREAT sound for them. On the other hand, “Beloved” is the most Folk-based track of the bunch yet. And honestly, I haven’t heard Marcus this up front either for this entire album. And yea, this one is a little bit more for the classic fans. But it still has this incredibly warm, sweet atmosphere that I can’t say no too. But I do sort of feel like this one is a slight hiccup. I love Marcus’s lyrics and intense performance, that’s all fine and dandy. But it’s not until like 2 and a half minutes in that things get really adventurous. But still, this isn’t a bad track at all. And I actually really love some of the World music influences and group vocals towards the end. But it’s tracks like "The Wild” that right off the bat that give me the chills. I love how legitimately tense and how much patience this one has. Marcus’s performance here is pretty chilling as well, and I love how spacious this all continues to come off. Once again, this is a little on the quiet side, so it’s something you’re going to need to sit with a little bit. But this one is just graceful and beautiful. And while it’s the farthest thing from instrumentally dense, it’s just as impactful. And it transitions really nicely into this incredibly epic finale, with everything from woozy synths and gigantic drums and tons more. I LOVE this track.
Now, “October Skies” takes things in a little bit of a more retro direction. There’s much less of an adventurous vibe to it, and the great atmosphere that Mumford & Sons have built up over the last few tracks seems to be forgotten. However, if I may, I so absolutely adore Marcus’s incredibly passionate performance, especially on the chorus here. But outside of that, I just feel like this passes off as one of the more lukewarm tracks from “Wilder Mind”. But hot damn is that chorus great and continues to show the sort of World-influences that Mumford & Sons are working with. And at the very least, “Slip Away” is a slightly enjoyable left turn as the band are starting to work with some slightly more upbeat material. And it’s not terrible really. Instrumentally, it’s sort of what I’ve come to expect from these gents, but with a little bit more of a vast feel to it. There are also some really beautiful backing instrumentals, even what seems to be a harp. But of all of the choruses here, this one just sort of blows right by me without having much of an impact. And I’m sadly not that "Rose of Sharon” either. This so far has been an album of Marcus and company really trying some new things and branching out. But this one just completely shits all over the rustic sound they once mastered. The result is an Alternative Rock track that sort of just sounds like they’re trying way too hard to be hip. And that’s just not what I showed up for. And it’s a shame because the chorus here is easily one of the most memorable here. Then we have "Picture You” which once again does seem like it’s trying to be very modern with some Electronic beats, some of them are really good too. But we’re getting really close here to a borderline Pop tune. Like, the only thing about this track that I’m remotely grasping is Marcus’s performance. THAT’s just fine. It’s everything else about this one that’s just so average. Thankfully, Mumford & Sons really turn it around for the remainder of this album. "Darkness Visible” isn’t exactly the most exciting thing in the world. But here at the very least, the band is trying something different. I love the vibrant atmosphere and the speech that actually comes off pretty epic. You have to give these guys some credit, they really are branching out into some different stuff. And I just love how big and hulking this gets towards the end.
But going into this album, spoiler alert, I felt like “If I Say” was quite possibly the worst track I’ve heard from these boys in years. Sorry, but this is literally everything that I wasn’t into about “Wilder Mind”. Like, there are some passionate vocals that I have to give props to. But everything else about this track is cheesy and all sorts of goofy. And I don’t completely hate Marcus’s heavy use of vocal effects, but here he just comes off as awkward. But Mumford and Sons brunch back with "Wild Heart”, a much more rustic and beautiful track. This is the first track in a few that’s been really stripped back and honestly is gorgeous. This is just so painfully real with Marcus talking directly to us, and it’s easily the most personal track here. It even has a broken down, bluesy vibe to it. Honestly, I can’t say enough good things about this one. Even some of the backing instrumentals are just so tragic and emotional, I love this one so much. And “Forever” is the sort of tender ballad that I’m surprised to say comes off really well also. While yes, this one does sound like one of the lesser tunes on their first few albums, I can’t deny just how passionate and immense Marcus sounds here. Lyrically, this is actually one of my favorites of the bunch. It’s seriously gorgeous, and I really do love some of the backing vocals that pop in. Sure, I may have been harsh on some of the other ballads here. But this is legitimately stunning, and that last high note is nothing short of impressive. This album ends off with “Delta, and once again sounds very spacious. But I fear that it’s maybe a little bit too spacious. I do like Marcus’s very bluesy vocals and his bruised performance. But instrumentally, this one is a little bit of a snoozer. Thankfully, Mumford and Sons really do end up knocking this out of the park with very passionate performances. Sure, I wish this ending track was a little more adventurous but this could have been so much worse.
Rating: 7.7/10
Give A Listen To: “42”, “Woman”, "The Wild”, "Wild Heart”
Least Favorite Track: "Picture You”
Genre: Folk / Indie Folk
Overall Thoughts: Mumford & Sons on “Delta” tear off their rustic roots for their most adventurous and genre-defying album to date. It’s an adventurous album, filled with woozy synths and huge atmospheres, most of which are actually pretty intriguing. However, there are a few moments where I feel like Mumford & Sons may have bitten off a little more than they can chew, and end up coming off a little too close to a Pop band. However, if you’ve had a problem with just how straightforward the sound of Mumford & Sons can be at times, give this a shot.
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