Weirdly, it feels like the silence of the event and it's a really strange period of time. But, you find yourself in a pressure cooker ahead of putting out and you're doing videos and you're doing interviews and you're doing all different rehearsals with the band and now it's out and we're on the road. And I didn't know, I wasn't expecting any kind of particular response. On the road, having put the record out, it’s been out like a month, there’s all this kind of pressure inside me to put it out. A big theme in your album is the pain–danger of silence. And then you're left with the silence, and yourself. I stripped away some of the ego stuff-like you have to-and what I got down to was something I really liked and loved.Īnd getting to a place where it's like, all that fuel, and all the ways and tools we learn to survive and to thrive and to push forward. Which, this period of time was like, ‘Okay, let's get down to the bare bones of who I am as a person,’ which was vulnerable, but felt right for me. The forgiveness angle that comes along, honestly, for me, is as much forgiveness of self as it is for any other third party, and I think you're totally right. And you could imagine how dark that could go energetically but the fact that you're speaking about it over this bed of energetic love that's starting to happen, it's about learning how to, without sounding super lame, to love yourself again. I hear that in the music because it's not, just grief letting. I was sort of getting to learn about myself again, and falling in love with me again. It's like any good art, it's whatever you make it to be. But that's also, I guess, wrong to say because it's about sexual trauma. The first time I played ‘Cannibals’ for Blake Mills, the producer, he was like, ‘It could be a weird, sexy jam,’ and I was like, ‘It’s rock and roll…we can do whatever the fuck we want, for a start!’ But that's hilarious. It's really propulsive, and it sounds like a love story, you know, energetically. If you didn't understand the lyrics it sounds like a romance. Oscar Isaac: I listened to the first few times, and it's just so harrowing lyrically. Isaac is well known for his role in Ex Machina, and most recently Moon Knight, and here discusses the layers to Mumford’s first solo project, its excavation of the past and ‘the dangers of silence.’ In a Flaunt exclusive interview, Mumford harmonizes with fellow friend and occasional duet partner, Oscar Isaac. Clairo, Phoebe Bridgers, Monica Martin, and Brandi Carlile add to (self-titled) in a storytelling manner that amplifies the mellifluous blend of harmonies. The album hosts four features, all of which are by female vocalists. And not just defined by basically the first song or the last song on the record, but, for it to feel more like an exploration of my creativity.” “Musically, it's my favorite thing I've ever done.” Mumford reveals, “[ (self-titled) should be allowed to be fun, and silly and sexy and funny, and I want it to be all those as well. This thrilling voyage into Mumford’s new era has the singer delivering on a sonically neoteric sound. (self-titled)’s debut solo single ‘ Cannibal’ is, in fact, the first music video the film virtuoso has ever directed. Stacking on top of Mumford’s already monumental milestones, his solo project features a music video directed by Steven Spielberg. Mumford’s debut album, (self-titled), is a ten-track journey that grapples with forgiveness and the cyclical nature of human experience. Four years after the band’s most recent album, Delta, Marcus is paving a road of his own. Mumford and Sons boasts a fifteen-year illustrious career-their 2012 album, Babel, earned eight Grammy nominations and a win for Album of the Year. ZEGNA coat and turtleneck, talent’s own earrings and rings, and BVLGARI ring.Ĭue the quiet.
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