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Post by garyuk on Nov 25, 2019 20:58:17 GMT
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Post by Captain Crieff on Nov 25, 2019 21:35:53 GMT
that instrumental of Smokers acoustic though... gimme ittttt
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Post by Captain Crieff on Nov 29, 2019 16:09:23 GMT
long interviews
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Post by Captain Crieff on Nov 30, 2019 13:00:31 GMT
Going the distance: Editors talk about their long career ahead of Other Voices appearanceGoing the distance: Editors talk about their long career ahead of Other Voices appearance As they get ready to play Dingle, Editors tell Ed Power of a near encounter with Michael Jackson in Ireland, and why they’ve outlasted so many of their peers THE last time Editors went for an extended stay in rural Ireland they very nearly bumped into Michael Jackson. Perhaps that is why, offered the opportunity to perform at Other Voices in Dingle, they said yes immediately. If it is half as interesting as their previous visit here it will be entirely worth their time.
“It was about 12 years ago,” recalls singer Tom Smith, sharing his almost-meeting-Michael anecdote. “We were staying at Grouse Lodge studio [in Westmeath] recording our second album. It was very rural. Michael Jackson was apparently there the same time as we were. He had a house, which was on another bit of land up the road.”
The King of Pop was an elusive figure, Smith recalls. “He would come out at night. Sometimes he came down to the little studio where we were working. It’s crazy if you think about it.”
Smith has been reflecting on the past more than is usual for him lately. Ahead of their Other Voices visit and a gig at Vicar Street, Dublin, in March 2020, Editors recently released Black Gold, their first “best of”. After 15 years and six albums it’s a fitting reminder what a great band Editors are — as angsty as Joy Division and Interpol (to whom they were lazily compared early on), but with an anthemic punch that marks them out as cousins fifth removed of Coldplay and U2.
“A ‘best of’ was not something that was on my bucket list, to be honest with you,” says the plainspoken and unassuming Smith. “But it’s a good moment to be a bit nostalgic. To take time and reflect. And it’s nice to put something out there that’s an entrance point.”
He is ever so mildly astonished Editors are still going. As well he might be, given the group almost fell apart in the aftermath of their opinion-dividing third album, 2009’s In This Light and On This Evening. It’s one of their finest — an almost entirely synth-driven affair located somewhere between Kraftwerk, Depeche Mode and the soundtrack to the first Terminator film.
“It was probably our most important record. To do that — to be brave or to be stupid… well, it depends on whether you liked it or not. We’d stopped doing certain things. There weren’t really any guitars. A lot of people were like, ‘what the f**k is this?’. I love that record. I understand the confusion. But I was proud of it. And I’m proud of it now.”
Still, some fans were not pleased Editors were moving away from the taut guitars that were their signature. Nor, ultimately, was guitarist Chris Urbanowicz, a frowning Edge to Smith’s plaintive Bono. He quit in 2012 halfway through what would become fourth album, The Weight of Your Love. It could well have put a full stop to Editors.
“We were in a real corner,” says Smith. “We very nearly just finished. We thought, ‘Well, we could call it a day now, it’s been a great three records, let’s just go back to college or whatever’.”
Instead, they recruited two new members and overhauled their sound. The breakneck claustrophobia of albums one and two was replaced by a more expansive pop. They achieved something few groups manage, getting bigger and better.
“We became more of an equal thing,” says Smith. “The first records… it was really just me and Chris. And Chris had a strong idea what he wanted and didn’t want. That’s not being negative. That’s who he was. And that was combined with my songs. After that I felt everything was on a more even footing.”
Editors released their debut LP in 2005. At the time, the British music press was still all powerful. They were quick to turn on Editors, dismissing them as dull and derivative. Though they aren’t exactly the jolly sort, Smith and company could be forgiven for having the very final chuckle (not that they’re at all triumphant). They’re still here while some of the the publications that delighted in heaping scorn are no longer with us.
“I was never very good at the press game, at being a media darling,” says Smith. ‘For us it was about the music. In some circles of the press that’s not cool or particularly interesting to write about. It took us a while to come to terms with that. It’s quite hard to have people challenge your integrity if what you are doing doesn’t fit into a certain box. As you get older you realise it was never that important in the first place.”
The pejorative ‘landfill indie’ hadn’t yet been coined when Editors broke through in the mid-2000s. At that time they were one among a parade of intense young guitar bands. Within a few years a great extinction event had swept British rock. Razorlight, Bloc Party, The Libertines… one by one they either broke up or became so obscure that it amounted to the same thing.
Editors, however, have endured. A humble sort, Smith puts it down to serendipity.
“Bands are f**king weird. It’s weird to have something that can exist for five, 10 years and make something creative collectively. A lot of bands that burn very bright are perhaps not functioning as bands. They are perhaps the product of a very bright personality in that band.
“That’s not sustainable. You look at someone like Razorlight. Whether or not you liked them, they were a perfect guitar pop band. The dynamic of that band wasn’t sustainable because of the personalities. That’s probably true for most collections of people. To stumble upon a group of people that can keep finding ways of doing it and which they all find exciting… it’s weird to have that last.”
link: www.irishexaminer.com/breakingnews/lifestyle/culture/going-the-distance-editors-talk-about-their-long-career-ahead-of-other-voices-appearance-966993.html
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Post by Captain Crieff on Dec 6, 2019 11:11:58 GMT
Has anyone found the Louder Than War and/or House of Solo magazines?
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Post by ssmth on Dec 6, 2019 14:50:41 GMT
Has anyone found the Louder Than War and/or House of Solo magazines? I've ordered the louder than war magazine, just waiting for it to arrive. Elliot posted photos of it on his insta this morning aswell.
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Post by Captain Crieff on Dec 6, 2019 14:54:22 GMT
Has anyone found the Louder Than War and/or House of Solo magazines? I've ordered the louder than war magazine, just waiting for it to arrive. Elliot posted photos of it on his insta this morning aswell. Me trying to read the text on instagram’s resized photos: I did find 1 page of the interview in the isuu preview: is that the first time they talk about where the other drummer went and when exactly Ed joined the band?
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Post by Captain Crieff on Jan 7, 2020 21:11:08 GMT
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Post by ssmth on Jan 8, 2020 11:40:13 GMT
btw ssmth did you get that issue of Louder Than War magazine? Yeah I did! Not quite as good as I'd hoped tbh, quite a lengthy interview with tom but nothing weve not heard before, plus there were no exclusive photos
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Post by Captain Crieff on Jan 8, 2020 11:41:26 GMT
btw ssmth did you get that issue of Louder Than War magazine? Yeah I did! Not quite as good as I'd hoped tbh, quite a lengthy interview with tom but nothing weve not heard before, plus there were no exclusive photos Ahw damn. Feel free to post photos though 😇
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Post by Captain Crieff on Jan 14, 2020 21:53:27 GMT
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Post by Captain Crieff on Feb 3, 2020 19:44:57 GMT
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ACPG
Guest
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Post by ACPG on Feb 11, 2020 6:59:42 GMT
We recently interviewed Justin on our podcast for a wide ranging discussion where we talked about playing live, when he joined the band, song writing and his guitar playing, recording, touring and festivals. Hopefully this is an appropriate place to post this, apologies if not. I expect readers of this forum will enjoy the interview which can be found here (or wherever you get your podcasts) for free... www.acpgmusic.com/episode060Any feedback would be fantastic. JR
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Post by Captain Crieff on Feb 17, 2020 20:35:03 GMT
New interview with Russell and Ed (in German): artnoir.ch/talk-editors-2020-02-14/that's.....interesting I guess! brb opening a new E7 thread, never too early for speculation! for Editors goddammit @ those venues, they're literally asking you to give them LESS stuff! Full text: German: Im Gespräch mit mit Russell Leetch (Bass) und Ed Lay (Schlagzeug) von den Editors
Die britische Band Editors ist mit ihrem Best-Of Album «Black Gold Album» auf Tour. Dabei kamen sie gleich zwei Mal in die Schweiz. Im Komplex 457 in Zürich durfte ich mich mit der Rhythmus-Sektion, dem Bassisten Russell Leetch und dem Schlagzeuger Ed Lay unterhalten. Übrigens behauptet Ed, dass Russell der bessere Tänzer von beiden sei. Rein schon von seiner imposanten Statur falle Russell bereits auf. Dafür habe Ed die besseren Moves drauf, meint Russell mit einem schelmischen Grinsen im Gesicht.
Aber erst mal zurück zum neuen Album. Die Auswahl der besten Songs war für meinen Geschmack hervorragend getroffen. Songs aus den beiden letzten Alben wie «Magazine» aus «Violence» und «No Harm» oder «Ocean Of Night» aus dem Album «In Dream» kommen zwischen all den anderen Songs viel besser zur Geltung. Die Auswahl war sehr einfach meint Ed. Sie haben ihre grössten Hits zusammengepackt und mit den drei neuen Liedern gemischt. Dazu noch die Akustischen Versionen von 8 Songs, die es nur zu der Special Edition Ausgabe gibt.
Gerade diese akustischen Stücke haben es mir sehr angetan auf «Black Gold». Ed und Russell waren bei diesen Aufnahmen allerdings gar nicht dabei. Nur Sänger Tom, Keyboarder Elliott waren im Studio von Justin (Gitarre) und nahmen dort die Songs auf. Für Ed hat sich das Warten darauf, diese Songs endlich zu hören, wohl so angefühlt, wie wenn die Fans auf ein neues Album hin fiebern. Russell und Ed sind auf alle Fälle mit dem Resultat sehr zufrieden.
Überhaupt produzieren und editieren die fünf Herren ihre Aufnahmen jeweils selber. Russell meinte, sie alle seien dazu in der Lage. Das sei auch der Grund, weshalb sie meistens weder mit einem fremden Produzenten noch Tontechniker arbeiten würden. Für das nächste Album, das schon in den Startlöchern zu stehen scheint, planen die Editors angeblich die Zusammenarbeit mit Gastmusikern. Mit wem, das haben sie noch nicht verraten.
Ich wollte von den beiden wissen, ob die Arbeit am Best-Of Album alte Erinnerungen hervorgerufen hat. Dazu meinte Ed, dass es tatsächlich all die Emotionen von damals wieder an die Oberfläche kamen. Es sei eine Zeit des Hin und Her gewesen. Gerade der Ausstieg von Chris Urbanowicz, dem ehemaligen Gitarristen und Keyboarder, war sehr emotional. Oder all die Jahre auf Tour, die verschiedenen Länder und Städte in denen sie gespielt hatten. Da kam einiges an schönen und guten Erinnerungen zusammen. Doch am Ende sei er nun froh, dass sie unter all das einen Strich ziehen können und an neuem Material weiterarbeiten.
Wie das Leben als Band sich mittlerweile anfühlt und ob sich das Tour Leben verändert hat, habe ich nachgefragt. Ed sagt, dass die Band für sie alle immer noch Hauptbestandteil ihres Lebens sei und sie das alle wollen und mit Leidenschaft dabei sind. Deshalb hat sich für ihn nicht viel verändert. Russell ergänzt, dass sie nach all den Jahren wissen, was sie machen möchten und was sie besser sein lassen. Wie zum Beispiel kurz vor dem Auftritt noch ein Fondue zu essen. Das werden sie garantiert nie mehr machen.
Dass Ed und Russell Spass an ihrer Arbeit haben, ist dem Schalk in ihren Gesichtern abzulesen. Auf die Instagram-Posts mit den Spielfiguren auf Eds Drum-set angesprochen lachten beide und erklären, dass ihr Keyboard Techniker diese Figuren sammelt. Sie haben keine Ahnung, wo er diese jeweils findet. Auf alle Fälle landen diese Figuren und andere Sammelobjekte dann bei ihnen auf dem Set. Russell schätzt, dass heute Abend eine Feder zu finden sein könnte, die er tagsüber aufgelesen habe. Wir werden es sehen.
Ein weiterer Instagram-Post der Band vom letzten September stach mir bereits damals ins Auge. Editors forderten darin auf, die Jugend beim weltweiten Klimastreik zu unterstützen. Dieser Post kam natürlich nicht bei allen Fans gleich gut an. Ich persönlich finde, dass Bands definitiv politische Aussagen machen sollen und zu ihren Ansichten auch öffentlich stehen dürfen. Ob sie danach etwas für sich geändert haben, wollte ich wissen. Ed erklärt, dass sie als Band entschieden haben, zusammen Schritt für Schritt an ihrem persönlichen Beitrag gegen die Klimaerwärmung zu arbeiten. Deshalb stört er sich auch etwas an den ganzen Plastikflaschen, die man ihnen hier Backstage zur Verfügung gestellt hat. Auf ihrem Tour Rider (Band-Infoblatt, das die notwendigen technischen Anforderungen und Bedürfnisse der Personen auflistet) stehe ausdrücklich, dass sie dort, wo das Wasser ab Hahn trinkbar ist, sie auf diese Pet-Flaschen verzichten. Sie alle haben eigene Trinkflaschen dabei. Deshalb sei das hier in Zürich zum Beispiel doch gar nicht nötig. Es sei als Band nicht einfach, dessen sind sie sich bewusst. Es sind kleine Dinge, die sie verändern können und daran arbeiten sie sehr bewusst. Russell meint dazu, dass er hofft und davon überzeugt ist, dass sich in Zukunft der Druck auf die Regierung und die grossen Firmen erhöhen wird, so dass die Probleme endlich angegangen werden.
Zum Schluss noch die Frage, nach den letzten Alben, die sie für sich gekauft haben? Bei Russell waren das «Michael Kiwanuka» (sofern ich das richtig verstanden habe) und das letzte Lana Del Rey Album auf Vinyl. Ed hat sich ein T-Shirt des US-Produzenten Basek bestellt, auf das er noch immer wartet. Russell lacht und meint, macht der auch Musik oder nur T-Shirts? Worauf Ed erklärt, das Basek Electro Musik produziere. Die Musik zum T-Shirt gab es dazu via Bandcamp. Und Ed hat sich erst vor kurzem das neue Album ihrer letzten Vorband, October Drift, gekauft. Das muss ich mir ebenfalls gleich vormerken. Die spielten das letzte Mal mit den Editors im 2018 ebenfalls hier im Komplex 457. Ein guter Tipp zum Schluss.
Interview: Nicole Imhof
English machine translation: In conversation with Russell Leetch (bass) and Ed Lay (drums) from Editors
The British band Editors is on tour with their best-of album "Black Gold Album". They came to Switzerland twice. In complex 457 in Zurich I was allowed to talk to the rhythm section, bassist Russell Leetch and drummer Ed Lay. By the way, Ed claims that Russell is the better dancer of both. Even from his imposing stature Russell already stands out. But Ed has the better moves, Russell says with a mischievous grin on his face.
But first back to the new album. The selection of the best songs was excellent for my taste. Songs from the last two albums like "Magazine" from "Violence" and "No Harm" or "Ocean Of Night" from the album "In Dream" come out much better between all the other songs. The choice was very easy, says Ed. They packed their greatest hits together and mixed them with the three new songs. Plus the acoustic versions of 8 songs, which are only available for the Special Edition.
Especially these acoustic songs are very appealing to me on "Black Gold". Ed and Russell were not present at these recordings. Only singer Tom, keyboard player Elliott were in the studio of Justin (guitar) and recorded the songs there. For Ed, waiting to finally hear these songs felt like the fans were waiting for a new album. Russell and Ed are definitely very happy with the result.
The five gentlemen produce and edit their recordings themselves. Russell said they were all capable of it. That's the reason why they usually don't work with a foreign producer or sound engineer. For the next album, which they're already thinking about, Editors are apparently planning to work with guest musicians. With whom, they have not revealed yet.
I wanted to know from them whether the work on the Best-Of album has brought back old memories. Ed said that all the emotions of that time had actually come to the surface again. It had been a time of back and forth. Especially the departure of Chris Urbanowicz, the former guitarist and keyboard player, was very emotional. Or all those years on tour, the different countries and cities they had played in. A lot of nice and good memories came together. But in the end he was happy that they can draw a line under all this and continue working on new material.
How life as a band feels in the meantime and if the tour life has changed I asked. Ed says that the band is still the main part of their lives for all of them and they all want it and are passionate about it. So not much has changed for him. Russell adds that after all these years they know what they want to do and what they want to do better. Like eating a fondue just before the performance. They will definitely never do that again.
That Ed and Russell have fun at their work can be seen in the rogues on their faces. When asked about the Instagram posts with the playing figures on Ed's drum set, both laughed and explained that their keyboard technician collects these figures. They have no idea where to find them. In any case, these figures and other collectibles end up on their set. Russell estimates that there might be a feather to be found tonight that he picked up during the day. We'll see.
Another Instagram post from the band last September already caught my eye. In it, editors called for support for the youth in the worldwide climate strike. Of course, this mail was not equally well received by all fans. Personally, I think that bands should definitely make political statements and should be allowed to express their views publicly. I wanted to know if they changed anything for themselves afterwards. Ed explains that as a band they decided to work together step by step on their personal contribution against global warming. That's why he is a bit annoyed by all the plastic bottles that they have been given backstage. On their tour rider (band information sheet, which lists the necessary technical requirements and needs of the people) it is explicitly stated that where the water is drinkable from the tap, they do without these pet bottles. They all have their own drinking bottles with them. That is why this is not necessary here in Zurich, for example. It is not easy as a band, they are aware of that. It's little things that they can change and they are working on that very consciously. Russell says that he hopes and believes that in the future the pressure on the government and the big companies will increase so that the problems will finally be tackled.
Final question, the last albums they bought for themselves? With Russell, those were "Michael Kiwanuka" (if I understood correctly) and the last Lana Del Rey album on vinyl. Ed has ordered a T-shirt from US producer Basek, which he is still waiting for. Russell laughs and says, does he also make music or just T-shirts? Whereupon Ed explains that Basek produces electro music. The music for the t-shirt was provided by the Bandcamp. And Ed just recently bought the new album of their last support band, October Drift. I have to make a note of that as well. The last time they played with Editors was in 2018, also here at Komplex 457. A good tip for the end.
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Post by Captain Crieff on Feb 22, 2020 11:21:25 GMT
INTERVIEW WITH EDITORS: JUSTIN LOCKEY AND ELLIOTT WILLIAMS ON THE EVOLUTION OF THE FIVE-HEADED BEAST.After six records Editors decided to release a best of compilation called «Black Gold». The record also contains three brand new tracks named «Frankenstein», «Upside Down» and «Black Gold». Justin Lockey and Elliott Willams are part of the English indie band since the making of «The Weight of Your Love». It was album number four and was released in 2013. Before they played a show in Zurich for the current «Black Gold» tour they took a look back on their personal story with Editors and how the band became like a family. Indiespect: Do you remember the last time you played at the Komplex 457 in Zurich?
Justin Lockey: Yeah, it was really hot. It was crazy hot. We had to buy some industrial fans for the stage.
Elliott Williams: It was the hottest gig we’ve ever played.
Indiespect: I talked to Ed Lay after that show and he said that he likes the heat and when sweat runs down his body during a show.
Justin: That’s because he’s a strange boy.
Indiespect: So, obviously it’s not the same with you.
Elliott: I don’t mind if it’s hot, but I don’t like that sort of heat.
Justin: That was impressive.
Elliott: We started to use fans since then and everyone just talks about how hot that gig was. I think also the audience thought: oh man, that was too hot.
Justin: Our support band October Drift as well, they always talk about this and they say: fuck man, that was the hottest gig ever.
Elliott: It was a very hot day to be fair.
Indiespect: You’re working with artist Rahi Rezvani for a long time now, also on the latest video for «Upside Down». Did the look he created maybe even influence the sound of your band in a way?
Justin: He usually comes in a little bit later on in the process. He does hang out with us in the studio and takes photos. I think, it’s our music in general that leans well into what he does. And he is a fan of the band and he’s a friend of the band. It’s a very simple process working with him.
Indiespect: He has almost become a band member, it seems.
Justin: Yeah, he is. He comes on stage. He can do everything he wants. He’s a lovely man.
Elliott: He’s family, really. He’s like our sixth member. We just trust him implicitly, I guess. We feel safe in his hands in terms of what he does artistically. There’s a lot of trust and you don’t often get that relationship with people you work with, making videos or doing your artwork. We’re very fortunate.
Justin: It’s usually a fucking pain in the ass. But with Rahi it’s quite simple.
Indiespect: You’re currently touring your best of record «Black Gold». In what way is a best of tour different to other tours?
Justin: It’s a different name on the poster, my friend. (laughs)
Elliott: Normally, you’re doing a tour to support a record.
Justin: You play a lot of things from that record. So, this one is little bits from all records.
Elliott: We’re deep diving into things that we haven’t done before. There’s quite a bit of the older stuff from the An End Has A Start period. And tonight we’re playing few more things from The Back Room. You get to do things that are a bit rarer. We’re playing a track called Distance which the band hadn’t played since the first record.
Justin: Since the first record, so that’s nearly fifteen years ago.
Indiespect: On «With Distance: The Acoustic Recordings» you reworked some of the older songs that were written when you weren’t part of the band. How did that feel?
Justin: It was great. It was just me, Tom and Elliott that worked on that – and a cellist called Riley. It was good fun. It’s good to hear the songs that went back to when they started. You could put those songs in any kind of style and they’ll all work. It’s just classic great songwriting.
Indiespect: Did you get another connection to those songs after working on them?
Justin: Not really. It’s just a different way of looking at it. It’s just a variation.
Elliott: I guess, those older Editors songs are like adopted children in a way now. Of course we weren’t there when Smokers Outside the Hospital Doors was written but we played it so much that it does feel like a part of us.
Justin: There’s gonna be songs on the third record that we’d played more times than they did back then.
Elliott: You do adopt them as like they were kids. The songs that we were part of were our kids and now we’ve adopted the older ones as well. (laughs)
Indiespect: The two of you have quite different stories on how you joined the band. Justin, you once told that you didn’t have any personal connection to the band before.
Justin: Kind of, but not direct. I worked with a producer who made the third record.
Indiespect: You mean Flood?
Justin: Yeah. So I did a record with Flood, probably a year or two before Editors were there. He’s a good friend. I think, my name got thrown around in the dark times as a possible guy to come in and help out.
Indiespect: But you had a completely different background, didn’t you?
Justin: I came from math rock. For me it was quite different. My music before I joined Editors was quite arty and quite noisy, well a lot noisy. But yeah, that’s fine.
Indiespect: Did you find your way in, even if it was such a different style you used to play?
Justin: Well, yeah. They must have thought: this guy seems to be able to play guitar. And then when I turned up on day one, they realized I’m not that good on guitar. But they were stuck with me, so they had to fucking deal with it. I’ve got production background, I produced a lot of records. That’s half of what I do. I didn’t just come in to turn up and play guitar.
Indiespect: So, you’re open to different styles as well.
Justin: Well, yes. If you gonna change it off a bit, you don’t wanna go and hire someone who plays exactly like the guy you’re not with anymore. That’s like splitting up with a girl, going out the next day with a girl that looks exactly the same and is wearing the same dress. It just wouldn’t work. I’m just the girl in a different dress.
Indiespect: Elliott, you were a fan before you joined the band?
Elliott: I saw Editors when they were on The Back Room tour. But I was in a band…
Justin: You’ve toured with them.
Elliott: I toured with them with my old band and we had the same management staff. So, I knew them a little bit when they asked me if I want to come in.
Indiespect: I’m not quite sure. Did you play live shows with them, before you joined the band?
Elliott: Yeah.
Justin: You did the Euro tour, didn’t you?
Elliott: Quite a few tours, yes.
Indiespect: What do you think is the main influence that the two of you had on the band since you joined?
Justin: Oh, we just made them better, essentially.
Elliott laughs.
Elliott: I don’t know. I guess, you would have to ask the others.
Justin: I think, we bring different skills and different outlooks. A band like that one had done records and they had a way of how they do things. When we came in they had to accommodate the evolution of what we do as well as how they’ve done things in the past, which is two very different things. Me and Elliott are both from the recording background. Those guys don’t record their own records, you know. Whereas me and Elliott are both producers.
Elliott: I mean, initially when we joined, it wasn’t a long term thing. We’re weren’t really sure how long it was going on for. But there was a chemistry between the five of us, it clicked. We all understood each other musically, even though we had different backgrounds. There was a harmony between the five of us that kept going until now. It still feels like we all understand and respect each other. Maybe before the band wasn’t so much of a democracy whereas now it is like a five-headed beast that’s all working together towards a common goal.
Indiespect: That means also the way the band members interact with each other?
Justin: Oh yeah. It’s like a family. I don’t think it was like that before. You got to think about the amount of pressure that band went through with their first three records. They went from this size (shows low) to this size (shows high) in a very steep curve. That can fray relationships and you can’t take a step back because you’re in this closed environment for so long. When me and El came in, it just opened things up a bit. We got more communication.
Indiespect: Your drummer Ed told me that he used to be Russells little pet in the early days because he didn’t join the band at the very beginning. Is it the same with you? You’re not still the new ones?
Justin: We’ve done as many records as the initial ones, even one more if you count the greatest hits.
Elliott: It’s always gonna bit a bit like that. With the fan base as well. You are always gonna be seen as the new ones.
Indiespect: Even if you’re eight years in.
Justin: I’m still the new guitarist.
Elliott: If you let that stuff bother you, then you go insane. We’re just not bothered. We’re happy between the five of us, doing what we do.
Justin: We have fun, man.
Indiespect: There are three new songs on «Black Gold». I was wondering if they were initially thought as the start of a new record.
Justin: No, no. They were just for this record. We went to LA for two weeks to throw them around at Jacknife Lee’s studio who made the second record. It was a good time.
Elliott: When we had the best of conversation, we knew that we wanted to put new tracks on it and not just having it as this terrible thing of looking back. We wanted to have a step in the present. So, it felt important to put some new songs on it. Not that it’s a sign where we want to go next, we were just trying some things and have some fun doing those songs at the same time as doing this retrospective thing.
Indiespect: «Frankenstein», one of the new tracks, has a funny line which clears up that you are aware of a common mistake in the way people use this name: «I know what you’ll say: you mean the creation, not the creator». Are you familiar with Mary Shelley’s legendary story?
Justin: Yeah. It happened in Zurich. And do you know, who else was in the room when that happened? It was three people. It was Lord Byron, Mary Shelley and Percy Shelley. It was a storm and they couldn’t leave Zurich. So, they all sat in the room, right? Fucking Byron, who essentially invented vampires, Mary Shelley who invented fucking Frankenstein and Percy Shelley her husband, also a writer. All these three stories happened after being stranded in Zurich. This is the birthplace of horror.
Indiespect: Frankenstein is a really good book. Often, people think it’s only about horror and a monster, but it’s a very dramatic story.
Justin: Yes, it’s totally different. And all happened here. How crazy is that? Zurich knowledge, my friend.
Indiespect: Justin, the first show you joined the band was their headliner gig at Rock Werchter back in 2012.
Justin: We did a warm-up but this was the big one. It was the bands biggest show they ever played.
Indiespect: Up until now?
Justin: It’s still up there, probably in the top three, it was like 60’000 people.
Elliott: We’ve done the same show a few time.
Justin: We’ve done it three times now. (laughs)
Indiespect: But how did it feel to start with a massive show like that?
Justin: It was great and just surreal.
Elliott: That’s what we were working towards. We didn’t sit back and thought everything should stay the way it was.
Justin: It was a big moment for the band, I think. If that would haven’t gone well, probably we wouldn’t be here now.
Indiespect: Is that still the highlight of your time with Editors or is there something different that comes into your minds?
Justin: I don’t know, man. We’re lucky that we get to do a lot of really cool shit. Like last year when we went to LA to do the songs for this record that was just amazing. Going to Nashville to make The Weight of Your Love was fucking crazy, ridiculous.
Elliott: Playing shows in Mexico and just hanging out there.
Justin: Headlining Rock Werchter, headlining any festival. We’ve done quite a few now and it’s mind-blowing.
Elliott: When The Cure had their 50th birthday we got invited. When this all stops and you’re an old man, you can look back. Maybe then you can pick favorites.
Indiespect: Do you keep any souvenirs of special shows?
Justin: I’ve got all my passes. They’re on my staircase at home.
Indiespect: But no poster of a special line-up where you were involved? Like the gig you played with The Cure?
Elliott: Oh yeah, stuff like that. I didn’t get one. I might have to try to find one. But we got posters from some stuff. I got a whole box of stuff. I have to go through it properly one day.
Indiespect: Will the songs on that tour always remain the same in the set?
Justin: It changes every night. The core of it is still the same but we are rotating songs in and out of the set.
Elliott: There’s a few more from the Back Room time.
Indiespect: Thank you very much for your time.
Justin: Awesome, thank you.
link: indiespect.ch/2020/02/editors-interview-justin-lockey-elliott-williams-en/
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