The Joy Division-to-New Order analogy may seem rather a convenient one, but even die-hard Editors fans will have to admit that the third offering from the Brummie four-piece signals a self-conscious move into retro electronica. The new direction of In This Light And On This Evening reflects a maturing process of a band which has contended with many a change since the huge success of debut album The Back Room, and the number one follow-up An End Has A Start, with bassist Russell Leech and guitarist Chris Urbanowicz now resident in New York, and front-man Tom Smith a father.
But even from the haunting vocals and unrelenting synth riff of the album’s title track, it seems Editors are performing a precarious balancing act between exploring a rawer, darker musical territory and over-indulging in 80s nostalgia. With every one of those vintage-synth notes, Editors risk sounding too eager in their electronica revival, and it is hard not to think some modest guitar might balance out the melodrama introduced by the opening lyrics, “I swear to God, I heard the Earth inhale/ moments before it spat its rain down on me.”
Yet we can’t entirely begrudge Editors’ clear enjoyment in embracing the electro-epic. The third track, single ‘Papillion’, is already a favourite in Editors’ live set amongst fans and after one listen, it’s not hard to hear why. This is catchy disco at its best, with a pulsating riff that won’t fail to get you dancing. ‘The Big Exit’ is another highlight, at first refreshing in Smith’s docile falsetto, before descending into dark discordance with the chorus, and – not to disappoint – crescendoing in a tidal wave of synths.
In This Light And On This Evening certainly marks a new chapter for Editors. While single ‘Papillion’ does shine through, Editors only just save the album from teetering over the edge into an 80s re-hash. Next time, boys – a bit less C20th-Ian-Curtis-reincarnation, a bit more Tom Smith, please.
