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4.4 out of 5 stars105
4.4 out of 5 stars
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on 11 February 2015
I'll tell you what, Editors seem to have been born in the wrong decade - their sound would have catapulted them to universal ultra-stardom had they been around in the 80s. And The Weight of Your Love sounds like a timeless classic from an era when making an album mean spending money on its production.

Well, I say 'classic' but it's only nearly so - more 'cult classic', since like all other Editors albums there are one or two really cracking tracks that you will listen to for pleasure many years into the future, mixed with a fair amount of wtf is that? type moments.

This record sees the band moving on from the hit-or-miss but nearly always interesting electronics of the previous album and has more of a band feel - think of the better-produced moments of U2, Crowded House, Counting Crows, Echo & The Bunnymen, REM etc - except with that unmistakeable Editors-ness which to me is the perfect mix between baritone depth and style mag surfaceness. Very odd, but always fun.
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on 27 October 2013
In anticipation of their concert in Leeds in November to which I have sweet-talked my husband into attending with me, I purchased this album to familiarise myself with 'The Weight of your Love' songs (and possible new sound)and it has to be said with trepidation in view of a potential move into a different musical direction following Editors split with Chris Uber.

I am listening to it 'again'. I have to say I do love their new sound and thankfully it is not too far removed from Editors previous sound. I do feel that apart from 'The Weight' the album is less anthemic than previous albums and has a softer sound but not too soft that they do not maintain that gloomy tone I for one have come to love and become accustomed to.

Favourite tracks on third listen are: The Weight, Sugar, What is this thing called love, Honesty, Two Hearted Spider, The Phone Book and Bird of Prey. Stand out is What is this thing called love- it is a great song where Tom uses his falsetto range, in favour of his usual baritone sound, with grainy interludes (strangely others seem to have berated this track)(maybe it is a female thing as having been to their concert in 2009 the audience was predominantly male). I feel their sound is less rift guitar and more orchestral on this album.

The other tracks on the album are not awful but I am finding that on the third listen I am skipping these in favour of the others.

Anyway I would definitely recommend this album and I am certainly looking forward to seeing them in November.

Oh, and on the first play the husband admitted "it is a great album" (and he doesn't like what he calls 'doom and gloom' music) so its all good.
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on 7 August 2013
I agree so much with those reviews that say this album improves with listens. I have all their albums and this is definitely the most consistently good across all tracks- their first two albums had stand out songs but the odd song you would skip. Their third, IMO, was not my favourite - at it's best, stunning (You Dont Know Love/The Boxer) but the extra tracks being noisy horrible affairs in contrast. This 4th album is much better- just a pleasure to listen and every track a masterpiece. You can tell it's been we'll honed over a longer period. My favourites being Sugar, The Phone Book and the bristling pop song Formaldehyde. Least favourite probably the slightly plodding Bird of Prey- good song but the drum track is a bit monotonous - could do with more breaks and work. The extra tracks are well worth buying- three v good strong melodic tracks + two instrumentals which add to the originals. There have been some good new CDs this year and this is one of my favourites.
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on 1 July 2013
'The Weight Of Your Love' is the fourth studio album by Editors.

Prior to the release of their 2005 Mercury Prize nominated debut Tom Smith (lead vocalist) et al. had spent three years cultivating an identity to do justice to their bold and captivating sound. Spearheaded by Smith's grandiose vocals the final inception of 'Editors' was to be an anthemic runaway success for Kitchenware Records; follow up records two and three were both chart topping albums in the UK guaranteeing sell-out concerts and headline festival slots.

You can sense the collective sigh of relief in the opening track. Following their electronic departure In This Light And On This Evening (which is in itself an excellent detour) it seems they've been diverted back to their roots; 'Weight' is a blistering opener reminiscent of their earliest work, yet richer and fuller in sound. The beats are noticeably classical in form allowing Tom's voice to cascade alongside the strings. The synergy of love and and death is a sinister approach that is well suited to Tom's ominous brooding voice. And so to the lyrics are earth-shatteringly epic: "Strike down on me" resonates at the end of the track as the instrumentation is pulled abruptly.

Cue the waspy bassline and lush lead guitar of 'Sugar', a sweet offering, again generous in atmosphere and sufficient in a certain cursed inevitability of love. 'A Ton of Love' is happily enough well groomed for the stadium. Staged as the single for the album it is excusably poppy and as such can be easily forgiven for its lack of edge.

"I've been your lover, for the last time", a falsetto voice proclaims. Sorry what!? Did I press the shuffle button there? Is this an editors record? And then the realisation of what is happening starts to dawn.

Over the next five tracks commences the experimental soul of this record and, dis-pleasingly so, we are talking more Chris Martin c.f. 'Honesty'/Gary Lightbody c.f. 'Nothing' than Paul Banks. I dont't want to pass too much cursory judgement on the tracks alone, as they are commendable efforts in themselves. 'Nothing' really is a truly beautiful track, but its clear that 'What is this thing called love' was not originally written for the band and one would need to pass their own conclusion on why it wasn't chosen for the X-Factor finalists, for whom it was initially written for.

The final few tracks do regain an intrigue that is more apt to the bands vibe ('Phone Book' and 'Bird of Prey' are superb) but I was left uncomfortably numb by the Emo-fuelled core. Repeated listens confirm. The album starts and ends triumphantly but with a soft and soppy underbelly that feels obvious and opaque. For some this may feel refreshing and honest, but to me it has a familiarity to it that is unoriginal and not distinguishably editors. There are four or five stunning tracks on this record but on the relative strength of their previous offerings, this will stand as my least favourite of their albums.

To retain an identity and following whilst remaining unique and creative is a delicate balancing act. Radiohead's seminal electronic Kid A (also their fourth) was a far cry from the rock beginnings and polarised a lot of their fans, yet the band is still recognised as one of the greatest of all time. This new offering from Editors will deeply divide opinion. Notably it is the first to feature two new members, Elliott Williams and Justin Lockey, following the departure of lead guitarist Chris Urbanowicz in April 2012; a decision tellingly based on "musical direction" differences that are strikingly manifested within this record. It is perhaps foreboding that, for the first time, it is pretty difficult to make out the name of the band on the album art.

Listen to: 'The Weight', 'Sugar', 'Nothing', 'Bird of Prey'
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on 2 September 2013
I really like Editors and I really want them to continue to produce good music, to develop and mature and change their style accordingly.
21st Century bands on their 4th album is a rare thing, and the Editors took a risk with the their moody third album 'In This Light and On This Evening', which, like all their albums, is an absolute pleasure to listen to. This 4th album is still moody, but a little less risky in overall tone.

This album is great too, the first three tracks are particularly strong, 'Formaldehyde' is very radio friendly, with the album closer 'Bird of Prey' finishing things off nicely.

It's a good album, worth buying, and keeps Editors in the game.

I have one minor quibble, at times throughout this album, it sounds like Elbow. In fact it sounds too much like Elbow. The Editors don't need to sound like Elbow, they have their own sound and they have the talent to maintain their own sound. I hope they continue to do so.
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on 18 August 2013
I have listened with pleasure to all of Editors music over the last eight years and have always found them satisfyingly unpredictable, and yet always thoroughly enjoyable. And this latest album is no different. I've been somewhat surprised by some of the negative reviews of this album, although tellingly even those who have berated the band for doing something different are still scoring them an average 4 stars (yes, it really is that good). My first listen was tinged with a worry that after the awesome 'In this light . . .' there was a risk they would get stuck in a doom laden rut, but no; in an album of love songs they still touch on death and the complexities of life in an intelligent and melodious manner. Standout tracks include 'What is this thing called love' where the lead singer Tom Smith proves that he really can sing, the foot-tappingly addictive 'Formaldehyde' and the wonderful album closer 'Bird of Prey'.
I can recommend this to anyone who is looking for an excellently produced, well crafted and intelligent indie rock album by musicians at the top of their craft. And hey, a little change is not always a bad thing!
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on 12 August 2013
Loved In This Light and On This Evening (probably because I am a big lover of Electronic Music) and was really hoping this was going to be something like that again. Not to be, sadly, and although there are a handful of excellent songs the rest are good but nothing more and in places it reminds me a lot of The Blue Nile and even Bruce Springsteen but not as good. Having waited four years for this new album it has turned out to be a slight let down. A good album but could have been so much better. Go back to something more electric next time as that was obviously where your greatness lay.
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on 1 March 2014
With this latest superb offering (which was unbelievably slated by the critics) i think we are four albums into the Editors legacy. The 3 previous albums have been musical & vocal masterclasse's, there is just something about the raw emotion in his voice that the more you listen the more you want. Critically this album was slated with a 2* average & that is the crime of the 2013/14 coz this album is brilliant. I read the 'music' reviews upon release & was put off purchasing because of the printed bollocks, took the plunge & bought the album & can say its the best purchase since 'Gaslight Anthems' previous. Every listen discovers new depths & new layers not heard on previous listens. This band are still on top of their game & few can say that four albums in!! Would love to see this album live topped with the classix from previous albums, genuine 5/5 its EMEZZING!!! Miss out at your peril. Track 4 'What is this thing called love' would make Robert De Niro cry like a baby, promise...
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on 3 August 2013
I really like Editors and having read several middle of the road reviews decided to buy 'The Weight Of Your Love' anyway. It's a solid album but it doesn't quicken the pulse as previous albums have. As usual, great lyrics and well produced but for me a slight change of direction is due. Originally I would have said 7 out of 10 but it is a grower so I would now mark it as an 8. Certainly worth a purchase but I'd think carefully before buying their next album unless I hear something a little different.
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on 4 April 2014
I already loved the Editors before they reformed and brought out this album. However they are even better now and this album proves it. I saw them live recently at the Roundhouse in Camden. They were out of this world and this album sounded even more amazing live. I cant recommend it highly enough to those who already love these guys or are new to their sound. It is haunting, uplifting and absolutely inspiring. Cant wait for their next album if this is anything to go by.
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