Finally! Mumford & Sons have announced on their website that their third album, Wilder Mind, will be released 4th May 2015 via Gentlemen of the Road/Island Records. It will be preceded by a new single, Believe, on the 27th April. On their site, you can pre-order Wilder Mind and watch a trailer on mumfordandsons.com. Yes. 

Wilder Mind was recorded at Air Studios, London and produced by James Ford (Arctic Monkeys, HAIM, Florence & The Machine). It features twelve new tracks, written collaboratively by the band in London, Brooklyn, and Texas. A number of the new songs were written and demo'd at Aaron Dessner’s (The National) garage studios in Brooklyn. The band also returned to Eastcote Studios in London, where they recorded Sigh No More, for further writing and demo sessions.

This new album marks a significant departure for the young British band from their previous records, 2009’s Sigh No More, and 2012’s Babel. The early sessions in New York and London witnessed a change in the band’s approach not just to writing and recording, but to texture and dynamics, too. There is a minimalist yet panoramic feel to the new album, whose sound Marcus Mumford describes as “a development, not a departure.” It came about by both accident, and by conscious decision.

 

We chose instruments that played well off each other, rather than consciously trying to overhaul it.

“Towards the end of the Babel tour, we’d always play new songs during soundchecks, and none of them featured the banjo, or a kick-drum. And demoing with Aaron meant that, when we took a break, we knew it wasn’t going to involve acoustic instruments. We didn’t say: ‘No acoustic instruments.’ But I think all of us had this desire to shake it up. The songwriting hasn’t changed drastically; it was led more by a desire to not do the same thing again. Plus, we fell back in love with drums! It’s as simple as that.”

“It felt completely natural, though,” says Ben Lovett, “like it did when we started out. It was very much a case of, if someone was playing an electric guitar, drums were going to complement that best; and, sonically, it then made sense to add a synth or an organ. We chose instruments that played well off each other, rather than consciously trying to overhaul it.”