mumford and sons tour new album

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I can still taste you and I hate it That wasn’t a choice in the mind of a child and you knew it You took the first slice of me and you ate it raw Ripped at it with your teeth and your lips like a cannibal You fucking animal

I can still taste you and it kills me That there’s still some sick part of it that thrills me That my own body keeps betraying me And there is such power there, it may destroy me But it compels me

Of course I deny it Can hardly believe it Dismiss or demean it Cause I know I can’t speak it

But when I began to tell It became the hardest thing I ever said out loud The words got locked in my throat Man, I choked And this is what it feels like to be free Even though it follows back down, stares Into the dark with me

Even then I deny it Can hardly believe it Dismiss or demean it But I know I must speak it

If I could forgive you now Release you from all of the Blame I know how If I could forgive you now As if saying the words Will help me know how

To begin again

Help me know how To begin

Help me know how To begin again Help me know how To begin again Begin again

Well how should we proceed Without things getting too heavy Even though I never tell you everything I coulda sworn I dropped that bomb on you already

Grace like a river

Yeah see there will come a time When it won’t feel just like living it over and over With the weight of the shadow on your shoulder And I hear there’s healing just around this corner

But it’s all behind I’m fine it’s alright Do I sound like I’m lying

Just giving it time Just giving it time But I’m still trying Still getting used to this place

And I don’t know if I’m Ever going to get used to this

Grace like a river Grace like a river Grace like a river Grace like a river

Put on my running gear I knew that this was coming I picked up my phone and called my favourites I knew I had to sit you down But sitting you down could not prepare you For another night like this

We made a promise that we always would be honest I never thought that I would break again Circled Holland Park Cold when I came back and sat you down For yet another night like this

I wish we could play the fools again

Each word is a cut that I see coming I clench my fists as I’m inflicting them And now I’m running out of parts that I can play Not the hero, not the dodger, not the preachers’ son

You ask me why I’d want to break the very thing I love the most You knew I couldn’t answer plainly Then you knelt down on the ground Like you were drawing in the sand And I surrender I surrender now

I wish we could play the fools again Go back or just skip to the end I wish we could play the fools again

How could you not

On the floor we painted white You’re picking up the pieces Reminding me of love and what we would look like without it It’s not a problem that is yours to fix

As this pours into your life The street lights on and off again Enough is enough Is enough Will that someday be us

I wish we could play the fools again Go back or just skip to the end I wish we could play the fools again How could you not Blame me How could you not Blame me

How could you not How could you not How could you not

Bless that medicine For bringing round that click in your head Better off high than dead

When you are stripped bare When you have settled your affairs Dressed in white Like a bride Or a new believer

Holding a handful of dust What else can we trust What else can we trust

It’s all that’s left for us

When you are back on the line The last stillness in your mind Almost seized me And all of this tedious talk It’s cheap It’s easy

Holding a handful of dust What else can we trust It’s all that’s left for us Anyway Anyway Oh

Yeah some hells put a peace on me And it still feels like there are hooks in me But the silence turns up the curse in me

On my shoulder as we laid awake And you always loved a smoke by eight Cause baby don’t mind

Gets never colder Than when the daylight breaks Do you now regret the bed we made Does it cross your mind Well baby, does it cross your mind

I did not intend to slow you down Even hoped that we would have spoke by now I was acting like an only child

What takes forever is a lesson learned I have nothing to show for the medals I’ve earned And maybe I mind Cause no one’s ever seen me traipsing in I’ve been hiding from all the places I’ve been And sore from trying And acting like an only child

But I did not intend to slow you down Even though I’d hoped we’d have spoke by now Maybe we were only lying

Heaven’s closing, they’re still pouring drinks And of all those crazy ways you think I love you lying But I can’t reason with the past we face I am sorry for the mess we made And if you want we’ll pick through my mistakes You’ll see me crying But maybe we could put it all behind

I did not intend to force your hand Even though we swore we’d understand Maybe we’ll be always trying We’ll be always trying

Tennessee heat in a wood panelled room I put myself into his care again In a high school chair For the visiting hour From you of all people

Now he tells me to conjure you up And so we meet again And again at the bottom of the garden And I’m chasing a ghost All around the room And now you’re strung up on the ceiling And it’s you of all people

It’s a dangerous game To play with fire For a brand new mind A dangerous game A man on the wire Get me out of my mind

Tied to the hope of another way through It’s chained at my ankles, they took away my shoes Now I see the only way through, is chained at the ankles With you of all people

Get me out of my mind Out of my mind Out of my mind Out of my mind

It’s a dangerous game To play with fire For a brand new mind A dangerous game It’s a dangerous game With you on my side With you in my mind A dangerous game A man on the wire Get me out of my mind

Dawn hits The sunrise on my breath The fog lifts from pretending to forget All the nights we left those Berwick Street hotels To the corners where we wished each other well

It’s alright I’m not trying to get them out of my head It’s alright If you don’t care then I don’t care Is this where we Begin again

From a stumbling mess I was searching to erase To the hands that pull me through without trace

I no longer see faces On the Polaroids we hid Behind a street sign is St James’s Where no one is forbidden

So here’s to the moment I deceive my better angels And the foggy midnight floors of perfect strangers

It’s alright I’m not trying to get them out of my head It’s alright If you don’t care then I don’t care It’s alright I don’t want to get them out of my head Is this where we Begin again

Cry havoc in the evening Sirens in the morning Peace by the afternoon I was planning on leaving Unless you really need me I’m just trying to keep up with you

Here in my wildest dreams We are the only ones awake The memories stop And you call my name Here in my wildest dreams Where the eyes fade away The memories stop And you call my name

Go in Go in light Go in Go in light

I know that I’m walking a treacherous line There’s breath on the glass But death on the vine Havoc in the evening Silence in the morning How is it so loud When it’s quiet

Go in Go in light Go in Go in light Go in Go in light Go in Go in light Light Go in light

Who am I Rambling at my reflection in the rear view light Following a stranger, praying for a fight Or the strength to get back on my knees again

This light Glowing neon in the corner of my mind Burns and burns but leaves no warmth behind I kinda wish you’d just done it in the dark

Oh my God We’re here again It all slows down To lines in the sand

Will I give out Only that which I myself was given once Where is all the mercy that was promised us Perhaps we ask too much

Coulda just as well be me Brought before them head down in that midday heat Only defined by my most heinous deed Well who would trace a finger through the dust

All we can hope Is that we suffer well When the cycle ends When there’s tales to tell When it reaches me Let me be a stonecatcher please

I had wondered what was done to you To give you such a taste for flesh I guess for years I just carried on Didn’t feel much of a choice to supress

I hope your memory is less vivid than mine And is free from that awful maple light I have to say I still wish you had just done it in the dark So the pictures didn’t burn so bright

But I’ll forgive you now Release you from all of the blame I know how And I’ll forgive you now As if saying the words will help me know how Please help me know how

I’m afraid it will take a time I’ll make my case to the Shahanshah as I bring him his cup And I’ll tell him best I can what I need To build the walls of my Jerusalem back up

And I have reckoned with what you’ve taken from me And I killed that liar in my head I buried him beneath the maple tree There’s no joy in dancing with the dead

But I’ll forgive you now Release you from all of the blame I know how And I’ll forgive you now As if saying the words will help me know How

Better Off High

Go in light (live in london), better off high (live in london), better angels (live in london.

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Mumford & Sons, Delta review: The band have thrown everything plus the kitchen sink at this ambitious, but painfully earnest, album

It’s all very dramatic, both thematically and sonically, with virtually every track following the same pattern: quiet, bit louder, loud, article bookmarked.

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Spare a thought for Mumford & Sons. Yes, they’ve sold millions of records. And yes, they’ve been deemed credible enough to play with artists such as Bob Dylan and Paul Simon. But whatever they do, it seems this folk-rock four-piece will forever be a lightning rod for critical vitriol.

That they are inauthentic was the original source of irritation when these public schoolboys from London emerged almost a decade ago, all tweed waistcoats, neckerchiefs and hoedowns. “They look like f***ing Amish people,” Liam Gallagher famously said. Yet the band were dismissed, too, when they finally dropped the faux-rusticana and swapped the banjo-driven bonhomie for pastoral American rock on their 2015 album, Wilder Mind. This drift towards a War on Drugs-like sound, the critics argued, was hardly the big gamble Mumford & Sons claimed, given how massive their following is in the US.

For Delta , their fourth album, the band have thrown every musical idea they possess into the mix: some orchestral flourishes here, some dabs of jazz and electronica there, with the acoustic instruments that dominated Sigh No More and Babel here drenched in digital effects by producer Paul Epworth (Adele, Coldplay). Texturally, Delta thrums with weird stuff, weaving in keyboard filigrees between the soaring riffs. Where Wilder Mind purported to be ambitious, this record genuinely is. The soundscapes are cinematic – and intense.

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While the album’s lead single, “Guiding Light”, will satisfy the fans weaned on the band’s barbershop harmonies and bombastic choruses, “Rose of Sharon” finds Mumford & Sons swimming blissfully into warm, uncharted waters – just listen to its West African inflections and subtle vocals from Brooklyn songwriter Maggie Rogers. Catchy, too, is the sparse, electronic-flecked ballad “Woman”, which roots itself deeply in your ear despite Mumford’s warble recalling Alt-J frontman Joe Newman’s mewled delivery.

Still, for all their experimentation on Delta, Mumford & Sons remain painfully earnest. Keep a straight face as a dramatic reading of John Milton’s Paradise Lost takes place over the portentous psychedelia of “Darkness Visible”. Or as Marcus Mumford sings “you’ll find me on my knees for you” amid the banal crescendos of “Slip Away”, a track that would definitely have been used on The OC to accompany Mischa Barton looking sad. Lyrically, the band aren’t that dissimilar to the Instagram influencer you follow who has “carpe diem” tattooed on their wrist.

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According to keyboardist Ben Lovett, the album was inspired by death, divorce and depression. To use another “D”, it’s all very dramatic, both thematically and sonically, with virtually every track following the same pattern: quiet, bit louder, LOUD. Take “The Wild” – all wistful calm before the (symphonic) storm, as synths, military drums, banjos, cellos, flutes, violins and, er, the kitchen sink are swept up in something less than the sum of its parts. Far more rousing is the album closer “Delta”, which blends snatches of Mumford’s children giggling with a staccato synthesiser motif and somehow manages not to sound that sentimental.

In truth, though, Delta is good but not great. “We’re strangely confident about this album,” said Mumford in a recent interview. “Perhaps that is because it feels the most like ourselves.” Exactly.

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Marcus Mumford announces 2022 North American tour

The Mumford & Sons frontman will hit the road shortly after releasing his debut solo album, '(Self-Titled)'

Marcus Mumford has announced a North American headline tour for 2022 – tickets will be available from here .

The Mumford & Sons frontman will hit the road stateside this autumn in support of his debut solo album ‘(Self-Titled)’ , which is due to arrive on September 16 via Island ( pre-order here ).

• READ MORE:  The  NME Big Read – Mumford & Sons: “We’ve thought a lot about mortality this year”

The tour is set to kick off in Boulder, Colorado on September 19 ahead of further shows in Denver, Seattle, Portland and Los Angeles throughout the rest of that month. In early October, Mumford will resume the stint in Ventura, California.

He’ll then make stop-offs in cities such as Austin, Dallas, Chicago, Detroit, Nashville, Portland, New York and Boston. The final gig will take place in Toronto, Canada on November 10.

Tickets go on general sale at 10am local time next Friday (July 29) – you’ll be able to purchase yours from here . Fans can access a pre-sale at the same time on Tuesday (July 26) by signing up here .

Danielle Ponder will open for Mumford at the September 19–October 14 concerts (except October 9), with The A’s supporting from October 17–November 10 (except October 30). You can see the full itinerary below.

US and Canada Tour on sale July 25th Pre-sale available at https://t.co/ipqk1HFE1n pic.twitter.com/xlh2C7F3t2 — Marcus Mumford (@marcusmumford) July 22, 2022

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Marcus Mumford’s 2022 North American dates are as follows:

19 – Boulder, CO – Fox Theatre 20 – Denver, CO – Paramount Theatre 24 – Las Vegas, NV – iHeartRadio Music Festival 26 – Seattle, WA – The Paramount Theatre 27 – Portland, OR – Keller Auditorium 30 – Los Angeles, CA – The Wiltern

4 – Ventura, CA – Majestic Ventura Theatre 6 – El Cajon, CA – The Magnolia 7 – Phoenix, AZ – The Van Buren 9 – Austin, TX – ACL Fest 10 – Houston, TX – White Oak Music Hall 11 – Dallas, TX – Majestic Theatre 14 – New Orleans, LA – Orpheum Theater 16 – Austin, TX – ACL Fest 17 – Tulsa, OK – Cain’s Ballroom 18 – Kansas City, MO – Midland Theatre 20 – Milwaukee, WI – The Pabst Theater 21 – Madison, WI – The Sylvee 22 – Saint Paul, MN – Palace Theatre 24 – Chicago, IL – Chicago Theatre 25 – Detroit, MI – The Fillmore Detroit 26 – Louisville, KY – Brown Theatre 28 – Durham, NC – Durham Performing Arts Center 29 – Atlanta, GA – The Eastern 30 – Nashville, TN – Ryman Auditorium

1 – Asheville, NC – Thomas Wolfe Auditorium 2 – Washington, DC – The Anthem 3 – Philadelphia, PA – The Met Philadelphia 5 – Portland, ME – State Theater 7 – New York, NY – Beacon Theatre 8 – Boston, MA – Wang Theatre – Boch Center 10 – Toronto, ON – Massey Hall

A UK and Ireland headline tour will follow in mid-November , including a show at the Shepherd’s Bush Empire in west London.

Marcus Mumford has already previewed the forthcoming ‘(Self-Titled)’ with the single ‘Cannibal’ . Produced by Blake Mills, the record will feature Brandi Carlile, Phoebe Bridgers, Clairo and Monica Martin .

Earlier this week, Mumford confirmed that Steven Spielberg directed the official video for ‘Cannibal’ .

The full ‘(Self-Titled)’ tracklist is as follows: 1. ‘Cannibal’ 2. ‘Grace’ 3. ‘Prior Warning’ 4. ‘Better Off High’ 5. ‘Only Child’ 6. ‘Dangerous Game’ (ft. Clairo) 7. ‘Better Angels’ 8. ‘Go In Light’ (ft. Monica Martin) 9. ‘Stonecatcher’ (ft. Phoebe Bridgers) 10. ‘How’ (ft. Brandi Carlile)

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Marcus Mumford Teases Mumford & Sons Reunion—”The Band Isn’t Broken Up”

by Alli Patton November 27, 2022, 12:16 pm

Singer-songwriter Marcus Mumford has been riding high since the release of his self-titled debut solo album , but the Mumford & Sons frontman recently teased more to come from the beloved indie-folk band.

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Appearing on a Nov. 27 episode of NBC’s Sunday TODAY with Willie Geist , the artist talked about the success of his solo project and the fate of his band.

“The band isn’t broken up,” Mumford stated during the interview, setting the record straight. He continued to hint at new music from the group. “The next thing really is to get in the room with the boys in the band and start playing each other the songs we’ve written.

“I’ve got a bunch that are kind of ready to go,” he added. “And then we’ll make a record, and tour it, and get to do what we love. It’s pretty cool.”

See a clip from the interview, below.

A new Mumford & Sons album would mean the band’s fifth, their first release since the 2018 LP, Delta . When they reconvene for music making, the band will rejoin as a trio following the departure of longtime guitarist and banjo player Winston Marshall.

“On Delta , the boys are pondering ageless mysteries but ultimately realize that the search is what counts,” reads American Songwriter’s review of the band’s last release. “People will relate to the universal doubts and fears that are often stirringly evoked by the music and lyrics on Delta . Mumford & Sons know their strengths and they play to them well here, proving that too much catharsis is better than not enough.”

A similar catharsis is sought in the frontman’s solo album, which dropped this past September. An album that deals with the sexual abuse he suffered as a child , Marcus Mumford has provided an outlet to process and heal. “Some of the areas in which I was trying to make that shame go away just led to more shame for me,” Mumford shared in a past interview. “And now being able to pick those apart a little bit and, like, chip away at the layers of it is why I feel kind of free, more free than I have in a long time.”

Photo by Gus Stewart/Redferns

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Shania Twain Adds More Dates to 2023 Globe-Trotting Tour

© 2024 American Songwriter

The new single Out Now

Mumford & Sons Announce New Album ‘Delta’, Plan 60-Date World Tour

By Laura English

UPDATE: Mumford & Sons Announce 2019 Australian Tour

ORIGINAL STORY: British folk-rockers Mumford & Sons have announced their fourth studio album Delta , teased a 60-date world tour and released a new single in one swoop.

The album has been recorded at The Church Studios in London and produced by Paul Epworth (Adele, Rihanna), and while there’s apparently still a bit of recording to go, the Mumford boys expect it to be complete by this weekend.

Delta is set for release on Friday 16th November through Dew Process/UMA, but we’ve already received the first taste ‘Guiding Light’. The new track unpacks a lot of emotional content, but still has an uplifting sound.

The new album has been described as a collection of “differing shades, colours and textures” and is said to be a “tender, introspective and reflective” listen, but with moments of optimism.

The third layer of their three-tier cake of an announcement was that we’ll soon hear details of a huge world tour, which will be revealed on Friday, 5th October and will hit up 13 countries over 60 dates.

Mumford & Sons were last in Australia in 2015, when they performed in Brisbane, Melbourne and Sydney as part of their ‘Gentlemen Of The Road’ tour.

Stream ‘Guiding Light’ in full, below.

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The tour is in support of the band’s fourth album ‘Delta’, released on 16 November.

Published on

Mumford & Sons have announced details of a massive and “ground-breaking” UK and world arena tour, kicking off in November 2018 and running into 2019.

The much-acclaimed British band , who recently shared new single ‘Guiding Light’ and announced their upcoming fourth album Delta – released on 16 November – will be hitting the road for their most ambitious and far-reaching tour to date.

Mumford’s Winston Marshall said of the new record: “I think at the beginning [of recording the album] we kind of fell back in love with the old instruments we didn’t play on Wilder Mind like the acoustic stuff and the more folky instruments but [we were] conscious [about] how we can make these instruments sound not like these instruments which opened up a whole new world for us…”

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Frontman Marcus Mumford added: “On this record it’s felt like there have been no boundaries creatively.”

Over 800,000 tickets will go on sale for Mumford & Sons’ 60 dates around the world, where the band will perform on what a press release describes as a “ground-breaking stage right across the middle of the room”.

The band’s full upcoming UK and world tour dates are below. Tickets go on sale from 9am on Friday, 12 October.

Mumford & Sons Play the following tour dates:

16 November – Dublin, 3 Arena 18 November – Belfast, SSE Arena 20 November – Glasgow, SSE Hydro 21 November – Manchester, Manchester Arena 23 November – Birmingham, Genting Arena 24 November – Sheffield, Fly DSA Arena 25 November – Newcastle, Metro Radio Arena 27 November – Nottingham, Motorpoint Arena 28 November – Cardiff, Motorpoint Arena 29 November – London, O2 Arena 1 December – Leeds, First Direct Arena 2 December – Liverpool, Echo Arena 7 December – Philadelphia, Wells Fargo Center 9 December – Boston, TD Garden 10 December – New York, Madison Square Garden 14 December – Washington DC, Capital One Arena 17 December – Toronto, Scotiabank Arena

12 January – Auckland, The Outer Fields at Western Springs 15 January – Brisbane, Entertainment Centre 18 January – Sydney, Qudos 22 January – Melbourne, Sidney Myer Music Bowl 24 January – Adelaide, Entertainment Centre 27 January – Perth, RAC Arena 27 February – Providence, Dunkin Donuts Center 28 February – Hartford, XL Center 2 March – Albany NY, Times Union Center 4 March – Montreal, Bell Centre 5 March – Ottawa, Canadian Tire Center 8 March – Buffalo, KeyBank Center 9 March – Cleveland, Quicken Loans Arena 11 March – Columbus, Nationwide Arena 12 March – Lexington, Rupp Arena 14 March – Pittsburgh, PPG Paints Arena 16 March – Charlottesville, John Paul Jones Arena 17 March – Raleigh, PNC Arena 18 March – Charleston, North Charleston Coliseum 20 March – Atlanta, State Farm Arena 22 March – Nashville, Bridgestone Arena 23 March – Birmingham, BJCC 25 March – Indianapolis, Bankers Life Field House 27 March – Detroit, Little Caesars Arena 29 March – Chicago, United Center 30 March – Madison, Kohl Center 31 March – Milwaukee, Fiserv Forum25 April – Lisbon, Altice Arena 27 April – Barcelona, Palau Sant Jordi 29 April – Milan, Medialanum Forum 1 May – Munich, Olympiahalle 3 May – Vienna, Stadthalle 5 May – Basel, St. Jakobshalle 7 May – Paris, Zenith 8 May – Luxembourg, Rockhal 9 May – Amsterdam, Ziggo Dome 11 May – Berlin, Mercedes Benz Arena 13 May – Frankfurt, Festhalle 15 May – Cologne, Lanxess Arena 17 May – Copenhagen, Royal Arena 18 May – Gothenburg, Scandinavium 19 May – Oslo, Spektrum 21 May – Stockholm, Ericsson Globe.

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• April 7, 2024 Setlist

Mumford & Sons Setlist at Margaret T. Hance Park, Phoenix, AZ, USA

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• Good People ( Mumford & Sons & Pharrell Williams  cover) Play Video
• Little Lion Man Play Video
• Babel ( w/ intro on-stage pyrotechnics ) Play Video
• Below My Feet Play Video
• Guiding Light Play Video
• Lover of the Light Play Video
• Believe ( w/ on-stage pyrotechnics ) Play Video
• Slip Away Play Video
• Ditmas ( Marcus in the crowd ) Play Video
• The Cave Play Video
• Dust Bowl Dance ( extended piano intro; omits "gun" ) Play Video
• Delta ( extended guitar intro ) Play Video
• The Wolf ( pyrotechnics rear stage at end ) Play Video
• Timshel ( around one mic, acoustic ) Play Video
• Wagon Wheel ( Old Crow Medicine Show  cover) (with Nathaniel Rateliff ) Play Video
• Awake My Soul Play Video
• I Will Wait ( fireworks! ) Play Video

Note: Backed by Chris Mass, Matt Menefee, Laura Bibbs (trumpet), Darius Christian (trombone), Alonzo Demetrius Ryan (trumpet). "Timshel" wasn't on the printed setlist.

Edits and Comments

20 activities (last edit by kfinch , 10 Apr 2024, 03:39 Etc/UTC )

Songs on Albums

• Awake My Soul
• Dust Bowl Dance
• Little Lion Man
• Below My Feet
• I Will Wait
• Lover of the Light
• Guiding Light
• Good People by Mumford & Sons & Pharrell Williams
• Wagon Wheel by Old Crow Medicine Show

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• Nov 30 2023 American Museum of Natural History New York, NY, USA Add time Add time
• Jan 16 2024 Jardin d'Acclimatation Paris, France Add time Add time
• Apr 07 2024 March Madness Music Festival 2024 This Setlist Phoenix, AZ, USA Start time: 8:35 PM 8:35 PM
• May 25 2024 Greenwich Town Party 2024 Greenwich, CT, USA Add time Add time

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By ABC News | January 15, 2024

Mumford & sons teases new music with “good people” post.

Will we be getting new music from Mumford & Sons this week?

The “Little Lion Man” outfit has shared a Facebook post teasing something called “Good People,” which is set to arrive Tuesday, January 16.

Mumford & Sons’ most recent album, Delta , was released in 2018. Since then, frontman Marcus Mumford released his debut solo album, (self-titled) , in 2022, while banjo player and guitarist Winston Marshall left the group in 2021.

Meanwhile, fans are theorizing that Mumford is set to be featured on an upcoming collaboration with Noah Kahan . The “Dial Drunk” artist recently teased that he’s releasing a new version of his Stick Season song “Homesick” alongside a guest who “inspired this entire record.”

Copyright © 2024, ABC Audio. All rights reserved.

Mumford & Sons Talk Going Electric on New Album ‘Wilder Mind’

By Patrick Doyle

Patrick Doyle

When Mumford & Sons ‘ bassist Ted Dwane showed up at his London studio early last year to begin work on the group’s third album, he was confronted with a surprise: a room full of synthesizers. “It was bizarre,” he says. “I didn’t expect we were going to do the same thing again – but this was crazy!”

On their new album,  Wilder Mind (out May 4th), Mumford & Sons have mostly removed their signature elements – banjo, acoustic strumming, stomping kick drum – and replaced them with U2-sized guitars, synths, spacey mellotrons and even some drum machines. “We felt that doing the same thing, or the same instrumentation again, just wasn’t for us,” says frontman Marcus Mumford. “We’ve got a broader taste in music than just that.” Adds Dwane, “None of us had really any interest in doing a sort of Babel 2. It was always going to be different.”

Near the end of the tour supporting their last album, Babel , the band was worn out both musically and mentally; they’d been touring more or less nonstop since 2009’s Sigh No More and were looking for new sounds. At sound checks, Winston Marshall traded his banjo for electric guitar and Mumford started playing more drums as the band jammed on heavy instrumentals and even some Radiohead tunes.

In September 2013, Mumford & Sons began what they thought would be a lengthy break, but found themselves back at work only three months later. After a couple of days in London at Dwane’s studio, the band headed to Brooklyn to write and demo tracks at the garage studio owned by the National’s Aaron Dessner. Mumford and Marshall were living in New York throughout the process (Mumford’s wife, actress Carey Mulligan, is returning to Broadway in the award-winning Skylight production this month).

“None of us had any interest in doing Babel 2. It was always going to be different.”

It was in New York where they wrote “Ditmas,” a catchy power-chord thrasher about a fractured relationship that set the tone for the album (Dessner’s studio is located in Brooklyn’s Ditmas Park neighborhood). “To people that have heard it, it sounds like a jolt,” says Mumford. “But for us, it was just where we were headed.” The city is a recurring theme on the album (see also “Tompkins Square Park,” a vaguely Strokes-y breakup song).

Mumford & Sons Talk Going Electric on New Album ‘Wilder Mind’ , Page 1 of 2

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How Blue Öyster Cult Revamped 40-Year-Old Recordings to Make Their New Album, ‘Ghost Stories’

The classic rockers' latest includes contributions from the late Allen Lanier.

By Gary Graff

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The reaper is clearly not feared as veteran rockers Blue Öyster Cult make the old new on the group’s latest album, Ghost Stories.

The set, out April 12 on Frontiers Music srl, comprises a dozen songs originally recorded between 1978-1983 (with one from 2016), mostly featuring the original lineup. Initially co-produced by golden age BOC audio engineer George Geranios, the versions on the album were spruced up, and in some cases added to, by band member Richie Castellano and BOC manager Steve Schenck, with remaining co-founders Eric Bloom and Donald “Buck Dharma” Roeser participating and brothers Albert and Joe Bouchard returning for some overdubs.

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The task of modernizing the tapes fell primarily to Castellano who’s been with BOC since 2004. Nobody needed to twist his arm. “Hearing them play songs that were recorded 20-plus years before I joined the band was like jumping into a time machine. It was the closest I could get to being a fly on the wall for these original sessions,” says the multi-instrumentalist, who’s also part of the Band Geek, which performs and is recording with former Yes frontman Jon Anderson.

Digging into the recordings — which Castellano says were well-preserved by Geranios — he discovered that “each song had its own set of unique challenges and required something different. With the tapes being so old, we encountered frequent dropouts. Hearing parts disintegrate during a song isn’t ideal, so we made a decision to use some new elements to support what was on the tapes.” That included bolstering parts via AI, sampling the original playing to create consistent performances throughout the songs. “With the goal of presenting these songs as complete ideas, we used all of the tools available to us to fill in any missing pieces,” he explains.

Roeser says the songs on Ghost Stories “were all contenders” for BOC’s albums during that time — including Mirrors, Cultösaurus Erectus, Fire of Unknown Origin and The Revolution By Night — but that “for one reason or another, they didn’t make the cut. There’s probably a different reason for each one, y’know?” The guitarist purports to have “no opinion” on the original songs, but Castellano lists a few “Holy Grail” finds — including Bloom’s vocal on “Don’t Come Running to Me,” the late Lanier’s piano that kicks off “Shot in the Dark” and Roeser’s solo on a cover of the MC5’s “Kick Out the Jams.”

The latter, in fact, is one of Ghost Stories’ grails for BOC fans at large. The group included a rendition of the song on its 1978 live album Some Enchanted Evening, but this is the only time the band laid it down with studio tapes running. For Roeser it’s also haunting that it’s coming out just two and a half months after the death of MC5 guitarist Wayne Kramer, who BOC had met over the years.

“I was struck by the time alignment of that,” Roeser says. “They were signed to Elektra when (BOC predecessor) Soft White Underbelly was signed to Elektra, and we went to a couple of their shows. We didn’t really know them personally that much, but when we decided to cover (‘Kick Out the Jams’) Eric talked to Rob (Tyner) about some lyrics that he couldn’t understand.

Blue Öyster Cult — which also includes bassist Danny Miranda and drummer Jules Radino — continues to perform sporadically and has several shows set for summer, including a June 7 appearance at the Long Island Music and Entertainment Hall of Fame in Stony Brook, NY. Roeser, meanwhile, has been working on a new solo track called “The End of Every Song” that he plans to release this year, but he’s circumspect about the possibility of fresh music from BOC.

“I have the thought, to be honest,” he says. “At this point in our career I don’t think we have anything we have to do. We don’t have anything to prove. So there’s no reason to just put stuff out for its own sake. But if we have something that’s significant and if it’s good, it can come out. But it has to hold up with what we’ve already done…and that’s a pretty high bar.”

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