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on 3 October 2009
...if you liked the first two albums. A lazy album which sounds like they've sold out Kasabian style
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on 16 October 2009
I thought the Editors first album had four good tracks on with the rest being unmemorable apart from the sound of the singers awful fake sounding serious voice scratched into my memory. After watching them play festivals over the last year I wasn't holding out much hope that their new stuff would be any good. In that respect I wasn't dissapointed.

This is dreadful! Its not that they have taken elements of early 80's electro pop and made it their own but they have copied it note for note!

Brricks and Mortar sounds like Yazoo

Papillion is just Tubeway Army's 'Are Friends Electric?' with a sprinkle of Depeche Mode with an intro that is just the Eurythmics 'Sweet Dreams are made of this'! copied to the note!

The only thing that could rescue this dirge is a good voice and intelligent lyrics. Well the lyrics sound like they've been written by a lower 6th former with tonsilitis...

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VINE VOICETOP 1000 REVIEWERon 15 October 2009
Editors continue their path for artistic integrity and musical freedom by going wherever they want, and doing whatever they want. Seemingly created absent from any considerations of how many this will sell, this, their third record, is their apex of achievement. Whilst some people think a band like Coldplay may be vaguely edgy, Editors are off in another orbit by dispensing with guitars almost completely and relying on a brave new world made of a tight, coiled rhythm section and a crescendo of synth sweeps seemingly carved from the soft, home made Tandy kits last seen on early New Order records.

Whilst the voice is intact and present, and the lyrical concerns the same, a usual palette of coastal wind, an absent God, a bullet, and light, Editors are clearly - wether they want to admit it or not - influenced by Joy Division, but also, in these songs and to these ears, keenly trained in the dynamics of Garage Rock, Kraftwerk, and the Brian Eno. Keyboard motifs rise and fall, simple and straightforward, but never inane or anything less than intricate, substantial and compelling.

Having seen these new songs performed live to a somewhat indifferent crowd, I can confirm that exposure and repeated listening are integral to these songs. Editors songs are not instant grooves, but carefully constructed and intelligent creations that reveal their mysteries and depths slowly. There are moments - the midpoint-break of "Papillion" and "Bricks And Mortar" - where, for those us with a large memory are reminded of Depeche Mode's mid 80's high point, built around images that are merely fragments of a larger story. Here, "It kicks like a Sleeptwitch" speaks at a level as profound as the words "Miles To Go". The human mind is smart enough to fill the gaps.

The story behind these songs are, like all great art, questing, searching, looking for something. There's a question in the heart of everything, for no sane being can truly admit they know everything : or even enough to be satisfied.

For those of you who are adamant that Editors are depressed guitar rock, it is time to scoff. There is nary a guitar on this record at all - though there is something that could be a guitar on "You Don't Know Love" - akin to the quantum leap between "Movement" and "Power Corruption And Lies", where the world expanded, the leap from black and white to colour.

Some records you grab hold of at first listen, and come back to you for years and years and years. This is one of those records. Free of padding, filled with vision and compelling songwriting - whilst aware of history, and unafraid to walk in the shadow of their influences, Editors also make these influences their own, and create something new as a result. A triumph.
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on 15 October 2009
Sounds like Vic Reeves doing his Club Singer from shooting stars but singing over a casio keyboard from the 80's with the demo left on.
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on 27 November 2009
Editors are a great band. While they at first seemed to be a British answer to New York's own Interpol, through their debut and followup albums, they became so much more.
And they turn out to be a band that can not only sound good through the hifi circuits, but can also deliver from front of house.
While there have been a spate of bands that have tried to redefine themselves on their third album with a new direction, that is often going to be a troublesome step.
I instantly recall Yeah Yeah Yeahs and Interpol. (or even Howling Bells and Noisettes with their 2nd albums!)
I'm no stranger to appreciating electronica based material. Some alt bands such as Idiot Pilot, Radiohead and White Lies seem to embrace newer technologies within the alternative music genre with aplomb.
However, this album to me sounded like it was made by a group of musicians that had just finished touring, had some time off to play with their cash, went straight down to Turnkey and bought a few Apple Macs, and started playing around with synths. The synth patches sound crude, obvious and underworked. This in itself is quite surprising, seeing as the album was produced by none other than Flood, the producer responsible for some of the best alternative electronica albums around including work by Nine Inch Nails, Erasure, Depeche Mode, The Killers and even U2.
I hope that the band members can spend a bit more time playing with synths and learning how to design some more clever sounds, as this album sounds like a half-baked learning project.
I'm still a big fan of Editors, I just know that they can do better than this. If they are going to flirt with electronica, I only hope that next time they've worked out how to use their new toys!
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on 15 October 2009
What a total and utter disappointment. I never write reviews but, having frantically deleted this album from my itunes, I felt compelled to say that I can't remember the last time I heard anything so...dull, dreary, depressing, bland. If it wasn't for the awful overuse of 80s style keyboards/synths that gnawd at my brain (I know a personal thing to hate most things 80s) I might have slipped into a coma. I loved Editors' first two albums, what went wrong, where did they go? Not a single song stood out. I'm not sure how they themselves can even tell them apart. And I might complain about the length - only 9 tracks - but in this case any more would only have prolonged the misery.
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on 16 July 2011
I remember listening to classic tracks by Editors such as "All Sparks" a few years ago, but never really gave a try listening to full record. A few months ago I went back to Editors, only to discover more than expected.

This third album was very different indeed. At times you think it's a completely different band(this one is much more synthetic, while the last 2 albums were very guitar driven). I did enjoy some tracks at an instant, like the obvious single Papillon and the strangely cool Eat Raw Meat = Blood Drool. But the more i listened to it the more I enjoyed it. It was a grower, now I think the entire record is a masterpiece.


1. In This Light and on This Evening - 7/10
A good way to start the album, amazing build up, lovely vocals. And then it releases with noise and guitars. Only complaint is that the climax could've been a bit shorter, or at least more evolving.

2. Bricks and Mortar - 6.5/10
Didn't enjoy this one that much at the start. It has some nice sounds, and some annoying(background beat). Now I think the track works. Some might like this one while other may not. I think it could've been shorter but it's still pretty cool.

3. Papillon - 9/10
Pure energy, it's a hell of track. Cool sounds, cool lyrics, deep voice. Hard not to love. Far more pop'ish than the other tracks, but still fits in very well.

4. You Don't Know Love - 9/10
Great song, an interesting observation of a character who grew out of love (would be my guess). Nice build up, catchy, amazing electronic and guitar sounds, perfect length.

5. The Big Exit - 8/10
This another track that had to grow on me. It's a dark tension builder were you need to be in the mood.

6. The Boxer - 10/10
Pretty different from the other tracks, but I think it's the very best as well. It's catchy, calm, amazing vocals. It feels like poetry, very underrated.

7. Like Treasure - 7.5/10
Decent song, not as memorable as the others, but it's still magical and fits in.

8. Eat Raw Meat = Blood Drool - 9.5/10
Awesome song, it's dark, funny, with amazing vocals and bizarre sounds. They really managed to make it sound full of blood. Can't stop singing "I give a little to you, a give little to him, a give little to her, her!"

9. Walk The Fleet Road - 7.5/10
Similar to like treasure, leaves similar impact. Good way to end the album, with memorable lines.

You need to give this record more than one listen. Some fans of Editors other albums may not like this at first sight, but It's more characteristic, grower and mature than the other albums.
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on 12 January 2010
Silly old Editors, they do make me smile when I see them on the telly, pompous old goats.

Why don't they just change their name to Joy Division and be done with it?
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on 29 September 2009
Two years ago Editors delivered on the promise of their debut album with the phenomenal `An End Has a Start'. It was filled with a combination of Joy Division inspired atmosphere and tom Smith's brand of snarling vocals. It was a triumph. Now two years on the band returns with third album `In This Night and On This Evening' and the sound has developed again. This time around Tom Smith and company have taken their old Joy Division influence, put it through the blender added a seasoning of synths and gothic harmonies and branded the result with seven big shiny new letters E D I T O R S.

So this brand new monster starts in ominous form with the title track. It's all pulsing synth and gentle piano lines. Smith's vocals are like those of a witness at a trial all monotone and almost spoken. It builds gently for almost three minutes before a menacing distorted riff kicks in with a pounding drum line that compels you to pay attention to the chaos swirling around it that eventually returns to that pulsing synth. The second track then feels open and charming in comparison. It is lead by gently rising synths accompanied by a bouncing drum line. For the first time on this track you also hear the new addition of choir like harmonies on the chorus. Again as this track progresses it seems to build towards the end.

When you reach track three you are greeted by the familiar sound first single `Papillon'. Only one thing sums this track up and it's Smith's own lyric of "It kicks like a sleep twitch". This lyric seems to conduct the song as it develops from simple synths in the first verse into the chorus with its more intense sound and simple harmonies. This is a beautifully crafted song which even though six minutes long is demanding of your attention throughout. It's a fantastic listen. To follow this then Editors have to pull another masterpiece out and they do. `You Don't Know Love' starts once again with that stripped back synth line with nice supporting bass and drum lines. The choir like harmonies are used much more obviously in this track which helps to set it apart and keep the interest. The energy of the chorus is fantastic echoing the opening lyrics of the track it will be a great crowd favourite when the band tour this October. `The Big Exit' is a really surprising track. The first thing you hear on the track is a sound like a paper shredder. Once this fades you are left with the expected drum and synth combination and Smith's echoing and mournful vocals. He uses his voice to great effect in this track sweeping from melancholy to stretched highs. The track twists and turns elegantly building and almost falling silent before building once again to a menacing crescendo lead by layered vocals repeating themselves over and over.

`The Boxer' adds a change of direction in the album. It opens with a popping lead line which is slowly absorbed into a combination of gentle piano and atmospheric vocals. It is a soft track that doesn't build to the crescendos which drive those before. `Like Treasure' starts in a clear and atmospheric mood with Smith's voice echoing gently in amongst the mix. This is followed by a track which has one of the best track titles I have read this year, `Eat Raw Meat = Blood Drool'. It is just fantastically strange. The track itself matches the name. It opens with a synth line like a broken warning siren backed by a gently bouncing bass line. Smith's lyrics are brilliant on this track with lines like "Your blood drool attracts the flies". The whole thing seems strangely communal somehow with the chorus of "I give a little to you. I give a little to him. I give a little to her." The album then closes out with `Walk the Fleet Road'. This is a softly swelling track that opens with beeps and brushes of synths. Smith's vocals echo on the verses and feel like the high pitched whisper of the wind on the choruses. The carefully placed backing vocals and hummed harmonies add a slightly desolate dimension to the track which then fades into the background and leaves you alone once more.

So at the end of it all Editors have managed to take a running jump forward. It is an album that throws off the last remnants of any Joy Division comparisons and leaves you with a distinct impression of who this band truly are. It has been beautifully crafted to maintain interest and originality throughout. They have not allowed a moment of filler into the album and kept it at a phenomenally high standard. Editors now stand apart as the truly talented artists that they are.
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on 3 November 2009
Having eagerly looked forward to this album I was initially disappointed.

That said, I stuck with it; a band capable of producing two excellent albums with tangible evolution between, and indeed within, them is highly unlikely to produce the steaming pile of faeces some reactionaries would have you believe this 3rd album is. And yes, I'm glad I gave it the chance to grow.

To say the change of direction is brave would be stupid. Changing one type of glossily produced musical output for another is not something that deserves the adjective brave, lest we further devalue notions such as courage. But a change of direction it is nonetheless.

I won't go into details already mentioned elsewhere. The guitars are all but gone. Electronic instruments come to the fore. But why should we assume this is a permanent change for the band? Their fourth effort may be a 'return' to more rock-based tunesmithery. But again, if this were to come to pass, why should we regard it as a return? It may simply be that bands develop, and use the instrumentation appropriate at that point. Yes, Editors may be cynically exploiting a trend in electronica. The question, as always, should be whether they do it well.

Yes they do. It's the same basic chord structures again. Indeed, many of the songs on the album lend themselves well to guitar-based versions. The melodies hold you as strongly as ever they did. The vocals are as distinctive yet technically weak as before. I personally like his voice, though range and depth he does not have. He does, however, know how to work with what he's got.

But the lyrics. His worst yet. And not because they're bleak. Not because they draw on imagery used so often before. On the contrary, done properly this can heighten the emotional impact and weight. Sadly for us, not here. And they are too repetitive. Though it arguably works on the opening title track - it expresses, and indeed is, a moment of startling beauty in the everyday and seemingly mundane- the subsequent tracks are different beasts, and need more fully-formed lyrical supports.

But what ensures that this band have a future, regardless of the incidental question of which instruments and musical form their music (should) take, is the consistency of their worldview. This is not attained by repeating the same formula, or by the self-referential parody of bands well past their best.

It's a matter, in music as elsewhere in life, of forging an identity, while all the time being open and knowing this can change. Editors have their identity.

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