Another change of direction for Editors with their new album, The Weight Of Your Love. It really looks like this band can’t make the same album twice (and I leave it to you to decide if that’s a good or a bad thing, for me, it depends of the album in question).
The psychedelic guitars of An End Has A Start are forever lost, and the synths that had marked the previous record, In This Light And On This Evening, are quiet gone too, leaving their places to real strings. Even if mostly gloomy, The Weight Of Your Love is a mixed-up kind of album that features various moods and styles, unlike the last two albums from the band, whose had a clear homogeneous nature.
The album sounds very different than the rest of their work, and I can’t figure out if the band is constantly exploring new musical territories to create new challenges, or is just refusing by choice to stick to a particular style, which could be the secret of perpetual renewal and everlong longevity, or just a commercial suicide. With so many bands or artists accused of being unable to change and to be offering the same sound again and again, are the Editors, with their ever-changing nature, what people aspect from a band?
With The Weight Of Your Love, Tom Smith’s voice is gaining more space and it’s more prominent than ever and really dominating each song, which it’s quiet admirable, but I got the feeling that many songs have a kind of commercial imprint (something that makes me go “oh-oh!”), like What Is This Thing Called Love and Nothing, and even if I don’t dislike the songs, they don’t sound like Editors to me.
This goes for the lead single as well, A Ton Of Love, a very U2-like tune, that together with Formaldehyde and Hyena is one of the very few dynamic and up-beat songs of the album. But I’ve to say that enjoy listening to this trio in a raw.
Above all, the one I totally love is Sugar (I hope it won’t be a single, because it deserves to stay away from ears of the masses), and if all the rest of the songs could evoke the same feeling that this song is capable to evoke, than this album would have been a masterpiece. Other favourites for me are Honestly, very beautiful with its dramatic vocals and violins, and Bird Of Prey, with its peasant melancholic feeling. But I do appreciate The Weight and Two Hearted Spider (in this one you can probably spot some guitars in the fashion of the album An End Has A Start) as well.
The Phone Book makes me feel sad and it installs in me a feeling of disillusion and sweet hopelessness, but that’s surely not a reason for me not to listen to it (on the contrary).
Of course, there is a version of the album that comes with bonus tracks, otherwise we wouldn’t be in the second decade of the second millennium, right? The additional songs are The Siting, Get Low, and Comrade Spill My Blood (which chorus reminds me of an old 80 song, but don’t know which one), which are not bad. Some acoustic versions are aslo included in the deluxe version of the album.
The Weight Of Your Love is a good album, surely one that grows on you, and one that represents another turn of things for Editors, I sense, but I just hope the band doesn’t go “too commercial” ending up like Coldplay, because I always loved them for their uniqueness and genuine way of making music.
Here’s the tracklist for The Weight Of Your Love (deluxe version):
- The Weight
- A Ton Of Love
- What Is This Thing Called Love
- Two Hearted Spider
- The Phone Book
- Bird Of Prey
- The Sting (bonus track)
- Get Low (bonus track)
- Comrade Spill My Blood (bonus track)