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Editors – The Weight of Your Love

Carrie Humphries


If you absolutely loved the melancholy tinged electronic indie that gave Editors their distinctive sound on the first three albums, then unfortunately you may well be somewhat disappointed with their latest offering, The Weight of Your Love. While the band have not ditched the baritone vocals and gloomy lyrics, they have instead opted for a more orchestral feel and have teamed up with Kings Of Leon Grammy winning producer Jacquire King for their latest album.

The album begins with The Weight, a wonderfully dark ballad about not wanting to live without the person that you love. Although the lyrics are more than a little emo (“Every day I pray I’m the first to go, without you I would be lost”), it is a rather likeable track with a pulsating heartbeat like drum and bass line throughout, interwoven with piano and string sections.

We are then treated to the killer track Sugar, which is actually by far my favourite track on the album. Although the track shares a similar theme lyrically to the album opener, it couldn’t be more different musically with a heavy industrial feel to it through fuzzily distorted basslines and powerful drumming.

Next up is their latest single A Ton Of Love; which is not a bad track at all. Perfectly formed to be released as a single with a catchy hookline, a fairly upbeat vibe and hints of 80s era U2 are present.

After the first three pleasing tracks, it all goes wrong on track four. What Is This Thing Called Love sounds like something they’d give to the X-Factor winner, which is so terrible and full of pop ballad cliches that I am sure it would even make Gary Barlow throw up if it came on his radio. The next track Honesty also follows suit, another boring ballad which you could well have heard just about anywhere before.

Luckily there is an album high point in the form of Formaldehyde. This is a danceable track which reminds me a little of Joy Division. There is a pleasant counterpoint throughout between the gleeful music and dark subject matter, which makes it a really rather catchy song, which would be perfect for single release. Hyena is also suitably pleasant and rather catchy; hopefully the band will chose this as another single release at some point in the not so distant future.

Finally there are the last two tracks, The Phone Book and Bird Of Prey, which prove a disappointing ending for an album which had just regained its balance. The former is a dull, mid-tempo tune with hints of folk inspired Americana which just doesn’t seem to be engaging or interesting at all. Final track Bird Of Prey is music and lyrics by numbers which it seems like just about any indie band could have written and it brings the album to a slow end that just doesn’t really seem to go anywhere.

Overall, not a terrible album, but not a brilliant one either. It’s always good to hear a band experimenting, but not always wise for a band to totally move away from their old sound if this is the result.