"Our confidence is sky high at the moment," proclaims wiry singer/guitarist Tom Smith, talking from Rome, Italy just a few hours before an Editors show at the Qube. "As a live band I think we've never been better."
The neo-post punk quartet from Birmingham, England his been making headlines all over the UK and Europe since the release of their bone rattling debut single "Bullets" way back in January of 2005. The limited edition release (1,000 units) sold out in a single day, and echoed the dark but infectious 1980s pop rumblings of Joy Division, Chameleons, early Cure, Bauhaus, and even Echo & The Bunnymen (modernists will cite Interpol, Black Rebel Motorcycle Club, Bloc Party, and Arcade Fire). Fans and curiosity seekers alike had to fetch a copy on eBay for the equivalent of $53 American dollars thereafter.
The quartet's highly anticipated follow-up single "Munich" hit like an amphetamine rush, skirting the dreaded sophomore jinx by rocketing into the UK Top 25 Singles chart. The ascent continued as the band nailed a primo slot on MTV2's Spanking New Music show in Manchester, which widened their public stance considerably. Then a simmering performance at the soggy Glastonbury Festival just before their official long-player came out last summer proved to be yet another triumph. "That was the biggest stage we'd ever played on," recalls Smith, still sounding nervous. "Our tent was lost in a flood. It was total mayhem, but we managed to have a great gig and make an impression."
Their story gets better. A third harrowing single, "Blood" ("blood runs through your veins / that's where our similarity ends") also hit pay dirt. As a warm-up act on the NME / Radio One Stage at Reading and Leeds, Editors killed once again. Another must-see gig at the ‘T In The Park’ festival was followed by a sold-out headlining tour, which ushered in the band's razor sharp debut album The Back Room in July of 2005. The critically acclaimed disc cruised past the gold mark into the Top Five position on the UK Album chart, prompting big plans for an American release in April of this year.
"The whole album was recorded in about three and a half weeks," recalls Smith in his nonchalant, matter-of-fact demeanor. "We're fully aware that it's our baby record.� A combination of the band's hit singles and studio cuts produced by Jim Abbiss, the bleak, blistering The Back Room packs a powerful punch while exuding the energy of a live set. "When we did it, we just came off the back of a tour and we wanted to preserve that sweaty intensity in the studio. Yeah, we made some sounds and atmospherics to give it more depth, but debut records certainly need to show the energy behind a young band. That was our goal."
Smith shifts into high gear when discussing Editors’ potential. "This album gives you a hint of where we could move towards in the future.� After a little prodding he confesses, "I love first albums; REM's Murmur and This Is It by The Strokes especially. They're pretty. They're perfect. They're playing within themselves as musicians. It's all about getting the essence of what a band is all about on tape, then giving you a glimpse of what's going to happen next."
Editors’ history is fairly short and uncomplicated. While studying music technology at Britain's Stafford University ("we did anything we could to avoid a real job"), Smith, lead guitarist Chris Urbanowicz, bassist Russell Leetch, and drummer Ed Lay came together as Snowfield in 2003. "We changed it because it sounded too much like Snow Patrol," say Smith. They packed up and relocated to Birmingham, of all dreary places, after graduation and paid their dues working horrific day jobs (Urbanowicz admits to being a shoe salesman) while developing the band's sound in a dank rehearsal studio night after night after night.
On the strength of local gigs (which drew rave reviews) and a single demo tape, a bevy of British labels came chasing after Editors. A bidding war ensued, yet the foursome chose Kitchenware based on the imprint's promise of artistic freedom. "Well, we got signed maybe three and a half years after we met," Smiths remembers with a chuckle. "In the scheme of things, it's not that long of a period of time. It was the crummy day jobs that were the hardest and made it seem a lot longer than it was. Thank God we're past that."
Though they were tabbed "Britain's gloomiest band" by the NME, Editors, who display a penchant for dark clothing, are hardly a difficult, moody bunch to get along with, notes Smith. "Very simply, I write the lyrics and the music is a combination of all of our ideas. It's a positive atmosphere. I'll come in with the very basics of a song and give it to the other three members. We shape it all together to make an 'Editors' song. The words become an integral part of the music and vice-versa, all of which is attached to all four of us. There's no one member more important than the other."
The rush of good commercial tidings in '05 earned Editors a badge that has been the downfall of many an artistic collective: celebrity. Smith is currently dating UK Radio 1 DJ Edith Bowman, who keeps a high profile even when she's not spotted at one of the band's sold-out gigs. "The success we've had has been a result of good, solid live shows," maintains Smith, eschewing any talk of his personal life, "and releasing a good, honest album rather than being the result of hype. Actually, I don't think we really been hyped at all."
When queried about who is worse, the Brits or Yanks when it comes to the merry-go-round of building up heroes only to tear them down, Smith measures his words carefully. "The UK goes about it in a very, very strange way. The NME had The Bravery on the cover at the beginning of the year. Now, at the NME Awards, they've been nominated for the 'Worst Band!' It's just ridiculous and downright silly the way things can just change for a band. It's pretty scary really."
The Editor's first taste of America came early this winter by way of a short, getting-to-know you tour which took them on a whirlwind week long jaunt through San Diego, LA, San Francisco, and then to an unseasonably warm New York City. Smith is anxious to get back to the States. "It was exciting and very busy at the same time. All the shows were full and buzzing. Initially I think we were kind frightened when we went over. Certainly we thought New York and LA would be quite reserved because they've seen everything, you know? But we didn't find that at all. As a matter of fact, it was a party every night; it was brilliant."
However, as Stones ex-manager Andrew Loog Oldham is prone to lecture on his Sirius pulpit regarding Editors and other new bands: "You gotta play the sticks mate. Being on the cover of pretty magazines is nice and all that, but it's the suburbs that will make or break you.� Such prodding admonishments are not lost on Smith. "We're coming out for SXSW which is in the beginning of March. We know that's important. We'll be touring in the States for eight weeks non stop. So that'll involve a lot of dates in the central areas. That's a long time to be away from home and a lot of hard work, but we're prepared to give it a bash. Our next tour runs all the way through to the Coachella Festival and then we'll be back after that. We realize that we just can't play the big cities."
Classic alternative rock fans will be pleased to discover that The Back Room emerges as a strong study in ensemble playing. Akin to U2, the rhythm section provides as much melody as it does harmonic foundation. Leetch's bass figure on "Lights" is a song unto itself, bouncing off Lay's pulsing high-hat patterns and rumbling tom-toms. The repetitive two-guitar drone which tethers "All Sparks" evokes primal Cult in all their icy goth glory. In lieu of traditional guitar solos and typical you've heard-it-all-before rock 'n' roll amplifier settings, Urbanowicz' sonic din in the service of single note colors Smith's ragged strumming and steady yet stern baritone (often compared with Ian Curtis). Smith's lyrics are often fraught with maudlin observations. Look no farther than "Munich," wherein the worrisome singer warns "people are fragile things / you should know by now / be careful of what you put them through."
Editors appear ready-made for arenas rather than the club circuit in which they've labored. The pace of the record is immediate, centered mostly on up-tempo cuts with a hot mix. Oddly enough, the album closes with two near ballads, the stark "Open Your Arms" and the robotic hymn-like "Distance." "It was our eleven best songs in the order we'd written them down,� says Smith. “It didn't really need much changing. It's a happy accident first draft. We cut them in the order that felt natural."
"I think in certain genres of music, 'albums' as we know them won't be so important, but for rock music and guitar bands I think it’s pretty safe.� Smith views the album format as an important way to communicate, despite the changing landscape of how pop music is delivered to the masses, be it down-loads, TV/film/video game soundtracks, or even ring-tones. "I think there is still a huge percentage of people out there that want to hear an album and appreciate the full form, even if they're transferring tiny sound bites onto computers or portable devices," Smith stresses. "For example, when Coldplay released their new album last year, everyone was excited about it - the entire album, not just the single. The big bands, especially Radiohead and U2, these are bands that are not going to go away any time soon, and everyone will always be looking forward to their next full album."
On the topic of current artists, Smith and Editors prove to be reverent alternative pop fans as well. "From iTunes, we just down-loaded the new Isobel Campbell [Belle & Sebastian] / Mark Lanegan album, Ballad of The Broken Seas, which is absolutely fantastic. I'm a big fan of The National too; their record Alligator, which came out last year, is constantly blaring away on our tour bus."
The band has been blessed with a measure of good luck in addition to the intense schedule which Smith maintains is central to their success. "We were very fortunate to support Franz Ferdinand last year,� he says. “It was a great show and great honor to be part of that bill as they pick their support bands themselves. Not only was that was a thrill, but it did us a lot of good in terms of self assurance and exposure. We've been out with The Rakes, another great band, and we had We Are Scientists from the States on our tour last year, so we've been doing well in that respect. Good artists feed off each other."
Tonight, however, it's another gig in another town. "Europe is kind of a mixed bag for us,� explains Smith. We go to Spain and we play to about 200 to 300 people, then we go to Amsterdam and Holland and we play to 2,000 people. It's always a very interesting tour when we tour Europe." The Qube presents another challenge. "The venue this evening is quite strange; we're playing in a gay club. It's not a 'gay night' per se, but it's still a bizarre environment for one of our shows.�
According to their press clippings, Urbanowicz has emerged as the official band heart-throb. From autographing women's breasts to dodging thongs and other various undergarments, Editors are prepared for just about anything. "Indeed, we'll all be wearing tight trousers at this gig for sure."
