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The British band Editors
(featuring Tom Smith on vocals and Chris Urbanowicz on synthesizer),
debuted in the vein of
Echo & The Bunnymen and
Joy Division, i.e. of
Interpol,
with the singles Bullets, Blood, and Munich. Not surprisingly, the
album
The Back Room (Kitchenware, 2006) sounded like third-hand dark-punk,
despite a couple of bright moments
(Lights, Fingers in the Factory) and the two singles.
The yawn-inspiring
An End Has A Start (Epic, 2007), that topped the British charts,
offered occasional signs of life (Smokers Outside The Hospital Doors and Bones) but mostly sank to the lowest depths of the pop universe
(The Weight of The World).
Yet another British "next big thing" that wasn't worth the ink it was printed on
the press.
In This Light and on This Evening (Kitchenware, 2009) was a more
artistic creation, largely the concept of electronics-heavy producer Flood.
The pummeling beat that opens In This Light And On This Evening leads to
a concerted effort
of gothic recitation, melodramatic staccato piano notes and anguished
electronic laments (although it never reaches the emotional heights of, say, the
Sisters Of Mercy).
Tom Smith's unimaginative singing redeems itself in Papillon by
adopting the magniloquent spleen of Stan Ridgway
over Chris Urbanowicz's driving synthesizer.
The album is filled with pointless songs such as the
operatic ballad over trivial electronic polyrhythms Bricks And Mortar
or the atmospheric musical-inspited You Don't Know Love,
songs that sound like Pet Shop Boys leftovers.
The electronic soundscape becomes the protagonist of the likes of
The Big Exit, whose melodies are unattractive, and the rhythm is
more lively and inventive in Eat Raw Meat = Blood Drool.
But these are desperate attempts to salvage an album of filler.
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