Mumford & Sons

0:27And then we send out CA, Mumford and Son. Half of them. Half of them on for the son's, we should say. So how are you guys doing? Good, thank you. For the graph, the other two. Yeah, well there we go. We can hold that up and then you can see the other two in the next minute. On the camera you can pick out the other two faces and the details. So let's talk about this record. Because releasing this record must be very different from releasing the last one. You guys are at a completely different level than when Signumor came out three years ago. Yeah. So where were you guys a week before the release? Because we're a week before the release right now, three years ago. I remember that saw this moment when someone had the CD for the first time, we were in Bristol playing on a boat to like 300 people. Good, very thick. Thick. Yeah, it's good.

1:12Legendary rock and roll, just things are pissed. But yeah, very Barbie. So how are the songs written? Everything is credited to the full band. How did the songs come about? Does someone come in with an idea and then everyone jams it out? Or does it start with everyone together? It's completely by song to song. It's a different process. Well, let's go with the single then. I will wait until that one come about. So we had kind of worked on a song called Nothing is written, which was a B-side to the cave. From Signumor. And that song came about through like a collaboration of different ideas. And then another song came along with the chorus of I will wait and it combined with the old song. So it's like, future. If you guys do that a lot, a lot of different parts end up together with songs maybe they didn't start with.

1:58Definitely. Even if it starts just that if it's just one person combining their songs, the best stuff, sometimes it's one line from one. Song is the only good thing about that thing you've written and so you put it into another song and it just makes it out like that. You must be really proud because Bando has become cool again. It's not cool. It never was. I was talking to Scott David the other day about it. We were saying it became cool again. He made it cool. He made it cool. So he's literally, he is the coolest Bando player in the world, I think. What do you think Ben? Don't you care? He's very cool. Don't care about Bandos. I connect Bandos. No, keep words are cool too. Keep words, or keep words? Keep words always being cool though. Yeah. Since when though? 80s. Because before. 80s. 70s.

2:43Big in the 70s. Big in the 70s. 60s. Hand-cropping in vented, yeah. Yeah. But key-based instruments. Always cool. Always cool. Apart from a accordion which you know. Not cool. Yeah, that's my own battle. No, not cool. I could see accordion fitting in your music. Next album, No Bando. Cordion. All accordion. The mix. That's the new. Yeah. Yeah. We. So this record is a topic. This record started off in Nashville. A couple songs were written there, and then you moved to London. So what comes from Nashville? There are a few songs that came out in Nashville. Yeah, we love his eyes, he's one. Yeah. That's a song. I like that thing. I'm just wondering. Do you know what's on the record? What's on the record? Do you need to see track? I've got to remind it. Yeah. We were playing some of them. We, I mean, which was in the dark three years old? OK. We were playing that before Sidermore was even released.

3:30We didn't write it before that album, but it was like, we finished that album in my life. I had this, these new songs, and that's what came out. And a few of the tunes are quite old, and even in love with the light, we've been playing for a couple of years. And so they're sort of mixed, and then, so we toured that for ages, and then January got back together, and that's when like a new batch, like Love His Eyes, developed. You mentioned Love Really? Yeah, Love Really Light. I like that tune. Because he says, Sanguinae's in it. You must see those lyrics and be like, where do you come up with these words? What do these words mean? Do you guys all write lyrics to these all? Marcus. None of these. These wait for things at times? There's lyrics to my own on the record. Yeah. What songs can we hear your stuff in? I would wait, because I would write in New York.

4:16Some of my favorite, when some martial lyrics would be. Songs from Simon Waller, Winter Winds, and there's a song from the deluxe version of this called For Those Were Like. But you write, Marcus has worked a lot with the lyrics, and he reads the most as well, and we think that those two things are probably connected. That makes sense. Yeah. Serenade Life this week. That'll be fun. Very excited. Yeah. I want to do some tryouts from my comedy. Somehow involve like Justin Timberlake and Get Involved, he could write a song, and we could be like, ooh, so we'd be do Back and Broken, and then something. That's like great. It's very interested in doing skis. We could do a take on like the Boney Island song. Because I like the conversion of the f***ing box. I'm not going to do it. I'm going to barge, maybe.

5:01I'm going to barge, motherf***ing. I'm going to motherf***ing barge. You're the people that are doing that. Oh, that's awesome. OK. We need something to go five questions. Five quick questions, one more answer. Road or studio? Road. Road. Just got to run at the same time. Bang. Check. Leonard McCurney. Leonard. Oh, no. When you hear a song, it usually hits you first. Lyrics, melody, or rhythm? Lyrics, rhythm. Song you've written your most proud of. I hope this one. Here you go. You as well? Yeah, sure. LAUGHTER In one word, Mumford and Sons. Confused. Three words. I don't get it, huh? Some of them are in one word. Yeah. LAUGHTER Not a sound, there's a lot of feeling.

5:48I like it. Thank you so much, guys. Appreciate it. Thank you. Thanks for coming in. Thanks for coming in. Appreciate it.