Editors: In This Light And On This Evening

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Brad Kelly

01st October 2009
At 11:33 GMT

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If we could've written a list documenting everything we didn't want a band like Editors to do, you'd probably be able to tick off every last one of them with their third release 'In This Light And On This Evening'.

It seems finally, after a steady decline in material, the once promising foursome have finally aligned to the sheeple instead of the trailblazer option.

But no, let us start with a small, surprising positive.

Introductory and album title track is far and away one of Editors most interesting songs to date. Front-man Tom Smith still repeats himself into an early casket and his lyrics are still verging on the ridiculous ("I swear to god, I heard the Earth inhale"...?) but the moody song builds and builds into a raw, electronic beast and finally smashes into a vastly experimental last dash that could just be the best thing they've ever put their name to.

Then comes the rest of the album and well, honestly, it really is rather grim. They've got themselves confused with a band who actually have the capacity to pull something like this off. They were already slipping on their second album but we didn't expect them to follow the growing crowd of indie bands and choose the over-encumbered 1980's electro-homage pile instead of attempting at refreshing and reworking their once interesting experimental indie. Keane are a perfect example of how not to do it, so why follow their footsteps?

They really should've followed through with what the first track had to offer but regrettably and frustratingly, they do no such thing. It's such a misleading, early slab of decent, brooding electronic indie so why they shed that for such annoying and forgettable inclusions like first single Papillon or the embarrassingly forgettable ballad You Don't Know Love is completely unbeknownst to us.

They try to show cohesion and strength on The Boxer and admittedly the first forty seconds are great, fantastic even, but the constant inclusion of synths and 'retro' chords gets in the way of any promise the band almost begin to show. 

Their début, The Back Room was such a sombre, monotone album with rich, broad textures and towering melancholic landscapes for as far as the ear could hear, but all of that has gone in favour of a 'new sound' that isn't really new at all. It's a sound to fall back on when a band have ran out of their own ideas and look to what's 'fashionable' and 'current' in the world of music today for their so called 'inspiration'. If it's isn't dancey and doesn't include a modulated keyboard then I'm afraid it won't go platinum guys. We understand Editors, grab that Casio and let's get bopping.

There's brief moments where the previous, now almost non-existent Editors poke their head out but it's too smothered by the electro-nonsense to successfully leave an impression. Bricks And Mortar shows Smiths voice back on normal terrain (instead of the preachy, pretentious heights seen everywhere else) and the gyrating, mechanical grind that eventually becomes the main rhythm is a great idea but they shoot too high, adding an orchestra just when a little of subtlety could've balanced it out. There was a time when they would've known what to of done here but sadly, that time has passed.

Disappointing and completely superfluous save for one track, In This Light And On This Evening is everything you don't want to hear from a band that once had something to offer. There's probably a metaphor in their somewhere paying homage to London but honestly, you'll be too annoyed to care. 

It's a terrible shame that the Editors had to end this way but as they say: money makes decent indie bands turn to the dark side...We're sure someone said that, if not, put us down for that quote.

Soon they'll be begging for the Interpol comparisons to return.

Rating:  4 / 10

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