EBM (Orange Vinyl)
EBM, the seventh album from Editors, is their most leftfield material yet â a thrilling, unrelenting thrust of full-bodied electro-industrial rock.
Benjamin John Powerâs journey to joining Editors was a surprisingly organic one. He had worked on the bandâs last album, 2018âs Violence, giving some songs a more brutal, industrial edge, the full realisations of which came out as 2019âs The Blanck Mass Sessions. That same year, Editors were asked to both headline a festival in Belgium and create a bespoke set for later on in the night. They approached Benjamin to see whether heâd be up for helping to retool their songs in a dancier direction. But with the pandemic underway, the festival never happened, and Editors were left with a bunch of new ideas during the ensuing lockdowns that were designed for â as Benjamin puts it â a âdirty rave tentâ.
Making EBM was âa lifelineâ during the pandemic, says Elliott, âsomething to totally get lost in.â Indeed, theyâve created a world brimming with drama and intensity, which is exhilarating after the past few years of collective listlessness. âThe songs feel like an escape,â nods Tom. The album title is an acronym of Editors and Blanck Mass but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editorsâ new material, where the synths of bands like Nitzer Ebb, Front 242, DAF and Skinny Puppy hammer darkly. Think smoke machines, strobe lights and the smell of leather. The band has taken those influences in a distinctly Editors direction: see the soaring falsetto of standout âKissâ, their disco-infused âcrying on the dancefloorâ banger, says Tom, which Benjamin adds âcould almost be a Donna Summer songâ if it wasnât so heavy. Or the punchy chorus of âKarma Climbâ, a stomping single that pairs ghostly atmospherics with stadium-level anthemia. On âVibeâ, which is the closest thing to what you could call a âfeelgoodâ Editors track, Tom wanted to put a âsummertime sheenâ on âa song for disconnected youthâ. Itâs Editors at their most super goth, sure â but also their most pop.
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EBM, the seventh album from Editors, is their most leftfield material yet â a thrilling, unrelenting thrust of full-bodied electro-industrial rock.
Benjamin John Powerâs journey to joining Editors was a surprisingly organic one. He had worked on the bandâs last album, 2018âs Violence, giving some songs a more brutal, industrial edge, the full realisations of which came out as 2019âs The Blanck Mass Sessions. That same year, Editors were asked to both headline a festival in Belgium and create a bespoke set for later on in the night. They approached Benjamin to see whether heâd be up for helping to retool their songs in a dancier direction. But with the pandemic underway, the festival never happened, and Editors were left with a bunch of new ideas during the ensuing lockdowns that were designed for â as Benjamin puts it â a âdirty rave tentâ.
Making EBM was âa lifelineâ during the pandemic, says Elliott, âsomething to totally get lost in.â Indeed, theyâve created a world brimming with drama and intensity, which is exhilarating after the past few years of collective listlessness. âThe songs feel like an escape,â nods Tom. The album title is an acronym of Editors and Blanck Mass but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editorsâ new material, where the synths of bands like Nitzer Ebb, Front 242, DAF and Skinny Puppy hammer darkly. Think smoke machines, strobe lights and the smell of leather. The band has taken those influences in a distinctly Editors direction: see the soaring falsetto of standout âKissâ, their disco-infused âcrying on the dancefloorâ banger, says Tom, which Benjamin adds âcould almost be a Donna Summer songâ if it wasnât so heavy. Or the punchy chorus of âKarma Climbâ, a stomping single that pairs ghostly atmospherics with stadium-level anthemia. On âVibeâ, which is the closest thing to what you could call a âfeelgoodâ Editors track, Tom wanted to put a âsummertime sheenâ on âa song for disconnected youthâ. Itâs Editors at their most super goth, sure â but also their most pop.
