EDITORS Ė In This Light And On This Evening (Kitchenware)

I have been a fan of Editors since day one, and thought that their last album ĎAn End Has A Startí was a real step up from ĎThe Back Roomí, so I was quite looking forward to this one. Before I got the album, however, I heard first single ĎPapilloní, and my first thoughts were that I hope that the rest of the album is not like this. Well, the bad news is that it is, and so for me the love affair is over. Like Bloc Party before them they have taken the very things which stood them apart from other bands and replaced them with run of the mill synths and R&B drum beats to be just another indie-pop band aiming at chart success. The drum machine and synths at the beginning of ĎBricks And Mortarí are twenty years behind the times, and even Tomís vocals canít stop this song from sounding horribly dated. ĎPapilloní is next up, and once again the synths make it sound so retro that you canít really take it seriously. Depeche Mode for the noughties Ė do we really need it? ĎYou Donít Know Loveí is one of the few tracks to hark back to their old sound, and when the guitar makes an appearance you realise just how much it is missed on the other songs. Some tracks do work, and ĎThe Big Exití is one such, with its martial drumming and Tomís higher register vocal making for an atmospheric piece which easily rivals their earlier work. ĎLike Treasureí is another song where the old Editors peek through, with its catchy melody and pulsing rhythm making a welcome respite from the depressing synth-pop. ĎEat Raw Meat = Blood Droolí sounds like it could be good, with its Throbbing Gristle-like title and radio-friendly chorus, but in the end it is just another case of style over substance and doesnít really leave a lasting impression. ĎWalk The Fleet Roadí at least ends the album on a high, with one of their classic ballads that even their new sound canít ruin, but it just makes me miss the old band even more. Like the last Bloc Party album, this is not a total disaster, and there is probably enough good stuff on here to warrant another couple more listens, but the real disappointment is the fact that the band had the potential to produce a stunning third album, and instead of forging forward they seem content to experiment with a sound that was pretty much derided in its time by real rock fans, and even more so twenty years on. If this new direction is set in stone then I am afraid that they have lost a fan, but at least I can still enjoy those first two albums.

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