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Editors

EBM

    Editors have never been a band who do what’s expected. When they emerged in the early 2000s, university friends from Birmingham, they were swept into a wave of indie groups with whom they had little in common beyond playing guitars. Then, after their 2005 Mercury Prize-shortlisted debut The Back Room and 2007 #1 follow-up An End Has A Start, they switched up their sound for synths. That was their first act of bravery, says frontman Tom Smith, and they’ve been taking risks ever since. “We’re quite used to that feeling of scaring our audience with new material,” he says with a smile.

    “It seems to happen with every album,” agrees guitarist Justin Lockey. “We’ll do something that everyone really likes, and then we’ll go and do something else.”

    That ‘something else’ is a breathlessly heavy step up, with their seventh album, EBM. It’s Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. Another new dawn: Benjamin John Power – aka Blanck Mass – has co-produced the album and come aboard as an official member. To outside ears, it might seem like an unusual pairing: an anthemic rock band who’ve headlined Wembley Arena and an Ivor Novello-winning composer who is best known for his abrasive noise projects. Even Benjamin himself admits it was a “leap of faith”. But Editors’ evolution makes perfect sense. They’ve toured with The Cure, of whom they are all huge fans, and are used to playing European festivals where they’re billed alongside harder acts. In Germany, for example, “we're not seen as some melodic indie band,” says Justin, “we’re seen as super goth.” He adds: “We talked about Rammstein quite a lot when we're making this record.”

    Benjamin’s journey to joining Editors was a surprisingly organic one. He had worked on the band’s last album, 2018’s Violence, giving some songs a more brutal, industrial edge, the full realisations of which came out as 2019’s The Blanck Mass Sessions. That same year, Editors were asked to both headline a festival in Belgium and create a bespoke set for later on in the night. They approached Benjamin to see whether he’d be up for helping to retool their songs in a dancier direction. But with the pandemic underway, the festival never happened and Editors were left with a bunch of new ideas during the ensuing lockdowns that were designed for – as Benjamin puts it – a “dirty rave tent”.

    They continued swapping ideas anyway, and the band began buzzing about where this music was headed: shadowier, beefier, exploring their shared love of synth-pop, industrial and alt-rock, it started to feel like a new chapter – the band’s third act. For the first time, the song structures weren’t coming from Tom and he says it was a novel but exciting exercise to receive the files and tinker with them, with Justin, Elliott Williams (keyboards/guitars), drummer Ed Lay and bassist Russell Leetch fleshing out their parts in the studio when they eventually regrouped. “Ben has certainly been a shot of adrenaline in our creative process,” says Tom. “The songs are so immediate, and in your face.”

    Making EBM was “a lifeline” during the pandemic, says Elliott, “something to totally get lost in.” Indeed, they’ve created a world brimming with drama and intensity, which is exhilarating after the past few years of collective listlessness. “The songs feel like an escape,” nods Tom. The album title is an acronym of Editors and Blanck Mass but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 , DAF and Skinny Puppy hammer darkly. Think smoke machines, strobe lights and the smell of leather. The band has taken those influences in a distinctly Editors direction: see the soaring falsetto of standout ‘Kiss’, their disco-infused “crying on the dancefloor” banger, says Tom, which Benjamin adds “could almost be a Donna Summer song” if it wasn’t so heavy. Or the punchy chorus of ‘Karma Climb’, a stomping single that pairs ghostly atmospherics with stadium-level anthemia. On ‘Vibe’, which is the closest thing to what you could call a ‘feelgood’ Editors track, Tom wanted to put a “summertime sheen” on “a song for disconnected youth”. It’s Editors at their most super goth, sure – but also their most pop.

    For Benjamin, it was an opportunity to flex his melodic muscles. In fact, says Tom, it was the avant-garde producer who brought the poppiest ideas to the table. “I was quite blown away by how accessible they were,” he says. “It was like ABBA or something.” Benjamin, a Nine Inch Nails die-hard, has always been struck by the seriousness and sentimentality of Editors’ music and was also keen to heighten the intensity after a bleak few years. “There’s a strong physicality to this record,” he says of its muscular soundscapes, which certainly echo, in places, the claustrophobia of The Downward Spiral. “I was looking ahead to a kind of a space where it’s sweaty, and bodies are close together.”

    For the most part, EBM revels in maximalism. The battle cry of lead single ‘Heart Attack’ sets out their stall, a twinkling rock ballad with a serrated, noirish undercurrent that lets rip into gloriously metallic riffage. From there, it’s a torrid release of beats, blips and broodiness: all killer, no filler; full-on but never overloaded. ‘Educate’ is almost symphonic in scope, as Tom angrily intones about the uncertainty of modern times. ‘Strawberry Lemonade’, meanwhile, is an all-blooping, all-thwacking bodice-ripper, with drums that sound like they might punch out of the speakers. Album closer ‘Strange Intimacy’ is “the most outrageous” of the album, says Tom – “not a particularly happy place to end, as it’s quite a bleak look at a relationship, but the arrangement of it gives it this theatricality.” It’s certainly the most ambitious Editors have ever sounded, where Justin’s “preposterous” guitar riff gives way, he says, to a “mad eight-minute techno odyssey” at the end.

    Another about-turn is the jittering crescendo of ‘Silence’ – the album’s post-rock ‘breather’, if you can call it that. Tom’s baritone has never sounded better, recalling a young Johnny Cash covering Nine Inch Nails’ ‘Hurt’. He’s never much been one for direct lyrics. On EBM, there are undeniable references to the pandemic and a divided Britain (“can you feel the broken nation?” he intones on ‘Strawberry Lemonade’) but these are slivers of reality among the abstract, in songs that are largely about losing yourself in the unknown. “I think it’s always better when the listener can draw their own conclusions from what I write,” he says. Justin agrees. “We sit in quite an emotional space, so everyone always wants to know what the words are about, but the music is half the emotion and what sets the mood and the tempo. Sometimes it’s better just to give yourself over to that rather than to try and work out what something means all the time.”

    It comes back to this idea of letting the mood take over, of giving in, and getting lost. And it’s going to sound absolutely eviscerating live. It’s a new world, and a new chapter for Editors – as it is for everyone. Time to move your body.

    TRACK LISTING

    1. Heart Attack
    2. Picturesque
    3. Karma Climb
    4. Kiss
    5. Silence
    6. Strawberry Lemonade
    7. Vibe
    8. Educate
    9. Strange Intimacy

    Editors

    In Dream - Love Record Stores 2021 Edition

      Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
      Limited to one per person.


      Editors

      Black Gold: Best Of Editors

        Across their six official albums, Editors have achieved major success internationally, selling 2.6M albums worldwide, racking up Mercury nominations, multiple platinum and gold records, No 1s in the UK, Belgium and Netherlands and Top 10s right across the rest of Europe. The album includes 13 of the band’s biggest songs alongside three brand new tracks, including the title track ‘Black Gold’. The album cover was shot by award winning photograper Nadav Kander and designed by Tom Hingston (Massive Attack, Young Fathers, Nick Cave).

        TRACK LISTING

        ‘Black Gold’
        (LP/CD)

        Frankenstein
        Papillon
        Munich
        Sugar
        Hallelujah (So Low)
        An End Has A Start
        Upside Down
        Bullets
        Ocean Of The Night
        No Harm
        Smokers Outside The Hospital Doors
        A Ton Of Love
        Magazine
        The Racing Rats
        Black Gold
        No Sound But The Wind

        ‘Distance: The Acoustic Recordings’
        (Deluxe 2CD Edition Only)

        Violence
        Walk The Fleet Road
        Blood
        Let Your Good Heart Lead You Home
        Smokers Outside The Hospital Doors
        Fall
        Two Hearted Spider
        Distance

        An electronica-infused alternative version of Editors’ acclaimed Top 10 album ‘Violence’, ‘The Blank Mass Sessions’ casts the songs in a bold new light, offering a fascinating insight into the album’s creative process.

        The eight track album, made up of producer Blanck Mass’ original productions of ‘Violence’, also includes the brand new single ‘Barricades’.

        For ‘Barricades’, Smith’s hopeful lyrics combine with yearning synths over robotic drum machines and sweeping basslines, while ‘Cold’ is given a frostier edge through Blanck Mass’ harsh percussion and robotic directness.

        ‘Violence’’s stripped back beat builds and erupts into a synth-fuelled chorus brim-full of busy drum patterns and ‘Magazine’s jaunty, sweeping synths and rolling snares lend it even more electronic swagger than the original.

        ‘Hallelujah (So Low)’ gifts the greatest insight into the triangular relationship ‘Violence’ was born from. The warmth of the album version’s acoustic guitar and industrial fuelled chorus are replaced with sparse, ethereal synths, giving the track and ‘The Blanck Mass Sessions’ in general, a mechanical, other-worldly edge.

        TRACK LISTING

        Barricades - The Blanck Mass Recording
        Cold - The Blanck Mass recording
        Hallelujah (So Low) - The Blanck Mass Recording
        Violence - The Blanck Mass Recording
        Darkness At The Door - the Blanck Mass recording
        Nothingness - The Blanck Mass Recording
        Magazine - The Blanck Mass Recording
        Counting Spooks - The Blanck Mass Recording

        Editors

        In This Light And On This Evening

          Released in 2009, ‘In This Light And On This Evening’ was the band’s third album and second No. 1 in the UK. A musical departure being more electronic though no less anthemic than the two previous and the last to feature guitarist Chris Urbanowicz, who left the band in 2012. Includes the singles ‘Papillon’, ‘You Don’t Know Love’ and ‘Eat Raw Meat = Blood Drool’.

          TRACK LISTING

          In This Light And On This Evening
          Bricks And Mortar
          Papillon
          You Don’t Know Love
          The Big Exit
          The Boxer
          Like Treasure
          Eat Raw Meat = Blood Drool
          Walk The Fleet Road

          Editors

          An End Has A Start

            ‘An End Has A Start' is the second album from Editors. It hit No 1 on release in 2007, selling nearly 60,000 copies in the process and includes the Top 10 single ‘Smokers Outside The Hospital Doors’ plus the singles ‘The Racing Rats’, ‘Bones’, ‘Push Your Head Towards The Air’ and the album’s title track.

            TRACK LISTING

            CD:
            Smokers Outside The Hospital Doors
            An End Has A Start
            The Weight Of The World
            Bones
            When Anger Shows
            The Racing Rats
            Push Your Head Towards The Air
            Escape The Nest
            Spiders
            Well Worn Hand
            No Sound But The Wind (Live At Rock Werchter 2010)

            LP:
            Smokers Outside The Hospital Doors
            An End Has A Start
            The Weight Of The World
            Bones
            When Anger Shows
            The Racing Rats
            Push Your Head Towards The Air
            Escape The Nest
            Spiders
            Well Worn Hand

            Editors

            The Back Room

              The debut, fast approaching double platinum, Mercury-nominated album ‘The Back Room’ reached No. 2 in the UK album charts in 2005 and amassed over 1 million sales worldwide. Includes the Top 10 single ‘Munich’ and the singles ‘Bullets’, ‘Blood’ and ‘All Sparks’

              TRACK LISTING

              Lights
              Munich
              Blood
              Fall
              All Sparks
              Camera
              Fingers In The Factory
              Bullets
              Someone Says
              Open Your Arms
              Distance

              Editors

              Violence

                INITIAL COPIES COME WITH A FREE SIGNED ART PRINT.

                Album VI from the British indie-rock 5-piece.



                TRACK LISTING

                1. Cold
                2. Hallelujah (So Low)
                3. Violence
                4. Darkness At The Door
                5. Nothingness
                6. Magazine
                7. No Sound But The Wind
                8. Counting Spooks
                9. Belong

                Editors

                In Dream

                  Following the surprise release of their first new music in two years via a secretive placing of ‘No Harm’ on a Play It Again Sam label sampler and a further taster in the form of the seven plus minutes ‘Marching Orders’ which saw 300 test pressings donated to Oxfam for sale in their stores around the globe, Editors release their fifth studio album, ‘In Dream’.

                  Recorded in Crear in the Western Highlands by the band, and mixed in London by Alan Moulder, ‘In Dream’ is the second album to feature the ‘new’ line-up of the band with Justin Lockey and Elliott Williams firmly in place alongside founding members Tom Smith, Russell Leetch and Ed Lay. After two years of global touring this five piece incarnation used the new album to stretch the Editors sound, swerving away from the rock dynamic of ‘The Weight Of Your Love’ and marking a return to a writing process influenced by electronic music that draws a line from their debut album through to prominence on the band’s third album, the UK Number One ‘In This Light And On This Evening’.

                  ‘In Dream’ is an album created without preconception. The initial visit to Crear, an isolated artist’s retreat 8 miles from the nearest town down dirt track roads was envisaged as a writing and demoing exercise but sessions bloomed within the stunning live room (with floor to ceiling windows framing the Atlantic) and it soon became apparent that the recordings were staking a claim as finished works.

                  At the centre of ‘In Dream’ is a belief in collaboration. Thus the album was produced by all band members in an open studio environment, nowhere within Crear was cut off from the music being performed and recorded in the creative space. Downtime was soundtracked by a varied playlist that stretched from Todd Terje to 80’s Robert Palmer, John Grant to the Despacio three hour club mix.

                  ‘In Dream’ is the first Editors album to feature duets, Slowdive’s Rachel Goswell sharing vocal duties on ‘Ocean Of Night’, ‘The Law’ and ‘At All Cost’ and is an album focused on allowing artistic interpretations outside of the band to flourish; Alan Moulder was left to mix the tracks without any band involvement whilst visual collaborator Rahi Rezvani has been given carte blanche with the photography and videography that will accompany the album and its attendant singles. It is a bold and expansive statement and is driven by, according to Tom Smith, a belief that music can be ‘both pop and experimental’.

                  Editors

                  Formaldehyde

                    The second single from Editors fourth album ‘The Weight Of Your Love’ sees the band returning to the familiar terrain the band’s myriad fans know and love with an edgy, anti-love song with a soaring chorus.

                    Already a live favourite, standing shoulder to shoulder with the band’s bonafide hits like ‘Munich’, ‘Papillon’ and ‘Smokers Outside The Hospital Doors’, ‘Formaldehyde’ has been singled out in album reviews as a stand-out from the album, and an obvious choice for a single to take to radio.

                    ‘The Weight Of Your Love’ entered the UK album charts at No 6 in the UK and, 5 weeks on, still holds a Top 75 position. Having lost founding member Chris Urbanowicz and in the process nearly packing it all in before gaining two new members, the new album is, in some ways, a transitional record, with the band reborn, shackles off, making their most ambitious music to date.

                    The single is backed with an unreleased acoustic version of the band’s opening single from the album, ‘A Ton Of Love’.

                    The 7” is limited to just 200 copies in the UK and Eire.

                    TRACK LISTING

                    Formaldehyde
                    A Ton Of Love (Acoustic)

                    Editors

                    The Weight Of Your Love

                      ‘The Weight Of Your Love’ is the follow up to Editors’ two consecutive Number One UK albums, 2007’s ‘An End Has A Start’ and 2009’s ‘In This Light And On This Evening’. Their debut album, 2005’s ‘The Back Room’ has sold over half a million copies in the UK.

                      This is the first album to feature new members Justin Lockey and Elliott Williams, following the departure of founding member Chris Urbanowicz in 2012. It was recorded at Blackbird Studio in Nashville with producer Jacquire King (Tom Waits, Norah Jones, Of Monsters And Men, Kings Of Leon) and mixed by Craig Silvey (Arctic Monkeys, The Horrors, Arcade Fire, Bon Iver).

                      Tom Smith has described ‘The Weight Of Your Love’ as “having a foot in that alt rock / Americana world” and of “feeling untouchable at times”. Recorded mostly live, it contains their most direct songs to date and also features extra production from Clint Mansell on ‘Nothing’, rescored from the original to become what Tom and Ed Lay both describe as the ‘centrepiece’ of the album. Lyrically focused on “love songs... that don’t adhere to the traditional love song type”, the album sees Tom Smith sing in falsetto for the first time on ‘What Is This Thing Called Love’.


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