"..a clear career peak for the band."

Defined by the band themselves as a new chapter, and despite cringing at the idea of planning any conscious developments in their music, this latest album sees Editors take on a more electronic hue with frontman Tom Smith’s adopted hometown of London the defining thread that runs through the new album.

Equally relevant is the relocation of band members Russell Leach and Chris Urbanowicz to New York, giving the sessions in London, with producer Flood, a more defined timeline and location. The rehearsal sessions saw Flood become integral to a new working method, encouraging the band in setting up their live gear to play ‘live’ in-studio with the aim of capturing Editors’ not insignificant live sound and performance. An innovation that allowed a new freedom and spontaneous invention in the four members.

Kicking off with the ominous title track, it’s a slow burning beginning that explodes into pounding drums, fuzz bass and Morse code beeps to thrilling effect. ‘Bricks And Mortar’ follows, making clear that Editors are electronically enhanced, as a gentle drum machine and bubbling synth bassline set up the band’s entrance proper. Single release ‘Papillon’ boasts the great “It kicks like a sleep twitch” line as queasy synths herald in the chorus. ‘You Don’t Know Love’, ‘The Big Exit’ and ‘The Boxer’ move the album into a more sedate mid section, and into ‘Like Treasure’, before ‘Eat Raw Meat = Blood Drool’, “the best pop song Editors have ever written” as Tom sums it up very effectively. ‘Walk The Fleet Road’ closes proceedings at a funereal, stately pace sealing the album’s status as a clear career peak for the band.


Words by Nick Annan

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