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I'll admit I have a tendency to be slightly irrational when it comes to Mumford & Sons, but I thought the band's newest album "Babel" was simply fantastic. "Babel" is one of those albums you can listen to beginning to end without skipping any tracks - an increasingly rare feature in this modern era of auto-tune, stale beats and Nicki Minaj.
The album starts strong with "Babel," a song infused with the band's signature folksy sound and boot-stomping rhythm, and doesn't slow down from there. "I Will Wait" is another of my favorite tracks which channels this sound, with its frantic, banjo-plucking beat and soaring vocals never failing to get my feet tapping.
As in their first album "Sigh No More," Mumford & Sons taps into a more melancholy vibe for a number of their songs. Tracks like "Holland Road" and "Ghosts That We Knew" are certainly mournful at times, yet their simple beauty and lyrical depth should make them appealing to those looking for something beyond just a sugarcoated party song.
I've heard some people criticize "Babel" for failing to significantly depart from the band's first album, "Sigh No More." This may be a valid point, but if their music ain't broke, then why fix it? There's no need for Mumford & Sons to experiment with some new, avant-garde sound just so fedora-wearing "Grey's Anatomy" enthusiasts can sleep well at night. The band has found a style that works for them, and I hope they continue to draw inspiration from that style moving forward.
Listen
After going through months of Kanye West withdrawal, I was thrilled when West and his Good Music crew finally dropped their new album "Cruel Summer" this September. West brought together a star-studded cast of rappers, including Big Sean, Jay-Z, Pusha-T and Kid Cudi to create one of this year's most widely-hyped set lists. Unfortunately, "Cruel Summer" revealed that the difference between hype and reality can be large indeed.
Don't get me wrong - I thoroughly enjoyed a number of songs on "Cruel Summer." "Mercy," "Clique" and "The Morning" feature fantastic, bass-heavy beats and lyrical wordplay from some of the best rappers in the game today. Jay-Z is certainly at his arrogant best on "Clique," smoothly flowing over the track while making sure to politely remind you of his superiority in all aspects of life.
Refusing to be outshone on the album he put together, Kanye teams with his partner in crime from "Runaway," Pusha-T, to produce a memorable verse on "New God Flow." Nobody is off-limits for Mr. West, who takes irreverent stabs at a variety of celebrities, including the late Whitney Houston, before casually comparing himself to Moses.
The album falls slightly short, in my opinion, due to its inclusion of rapper 2 Chainz, who actively strives to ruin all tracks on which he is featured. I'm still not sure why Kanye West chose to invite 2 Chainz into the Good Music crew. At first I thought it might be an act of charity, like picking the kid with the broken leg to play kickball in grade school, but then I remembered Kanye's swollen ego, and his swollen ego's swollen ego, and promptly went back to being confused.
Kid Cudi also strikes out on his track from the album, "Creepers." I'm offering a reward for whoever finds Kid Cudi's talent, which he seems to have misplaced during his brief and ill-fated debut on the rock music scene.
Overall, "Cruel Summer" is solid yet slightly disappointing, outclassed by Kanye West's previous collaboration efforts. However, I would definitely still recommend giving the album a listen.
Discard
It may not be fair to give Lupe Fiasco's new album "Food & Liquor II" a discard rating, but I feel it's somewhat appropriate given my current frustration with the direction his music has taken.
I understand Lupe Fiasco's musical identity is defined by his intelligent, and often radical, lyrical critiques of political, racial and social realities. However, I feel like he focused too much on producing inflammatory lyrics and political commentary in "Food and Liquor II" while neglecting the other integral components of enjoyable music - production value, memorable hooks and some degree of catchiness.
Songs like "Lamborghini Angels" certainly contain a socially charged message, yet are simply not songs I would listen to more than once, let alone buy.
The song I would recommend from the album, "Around My Way," is one of the few managing to provide social commentary without sacrificing listenability.
Lupe's music has simply gotten too preachy for my tastes. If I want someone to call me names and accuse me of being a terrible person, I don't need to buy one of his albums. I have plenty of friends living right down the hall who would happily do it for free.
Contact Dan Brombach at dbrombac@nd.edu
