Perception. As in recognition and appreciation of the aesthetic qualities of a piece of information offered to the observer.
Why do I drop this term? Because it feels like the entire career of Editors has been harshly graded due to a problem in perception some members of the audience seem to have.
Specifically, what stinks of a perception problem is that eternal comparison to Interpol. Valid only due to the fact that the voices of Paul Banks (Interpol) and Tom Smith (Editors) do sound slightly similar.
The difference should be obvious if people had a bit of effort in their criticism: Interpol & Editors’ target audience are quite different. Interpol fans think Jason Pollock was a genius whereas Editors fans do lament the waste of paint and canvas. If that’s a bit obscure, then let’s say that Editors’ strength is the less solipsistic and more relatable themes that seep through their songs.
Simply put: Interpol for the narcissist menthol smoker, Editors for the social hermit.
So, yeah, I’m a fan of Editors. Their evolution from “another band sounding like a fast Joy Division” to a dark, brooding synth-band (in 2009’s In this light and on this evening) is the natural order a band should go through; an ever moving stream breeds life whereas a stagnant pool reduces the fauna variety alarmingly.
It’s 2013 and The weight of your love finds Editors the farthest from the The Back Room. Gone are the staccato guitars and brooding atmosphere and we have a very well done pop album that can offer catchy ditties like ‘Honesty’ or ‘Formaldehyde’ and also more sentimental grooves like the solemn ‘Nothing’, with its stark orchestral arrangements. And this is where the red flags will fly to some. “Pop”? “Orchestra”? “BETRAYAL!” will be the arguments a thousand floppy haired miscreants will concoct in their heads, while slanting the album after listening only to the 80s-friendly ‘A ton of love’ and pressing stop (or more accurately, deleting the torrent.)
Remember when I said this album rewards on repeated spins but you can’t afford to listen to it again? Then jump straight to ‘Two Hearted Spider’, the strongest moment in The weight of your love, the one moment Editors lift the blank mask and show that the scars are still there. Is that a wink what went with that wry, knowing smile? It sure was. Stick around for the gorgeous ‘Bird of prey’, though.
Do I think this album deserves the pasting it’s getting? No. If anything, this in a transitory album, much like Benedict XVI was from John Paul II to Francis. By this I mean that the loss of Chris Urbanowicz (guitar) had an impact on the band’s form and this shows in The weight of your love, as there never is a “moment” that makes you go “FUCKOLA!” on a first listen (a sin in today’s mad world).
It is an album that deserves a few more spins (without prejudice) and I’ll assume that just like Minus the Bear’s OMNI (2010), The weight of your love is an album that works much better in a live form that in recorded form.