Two guys who look like they'd rather be anywhere else doing anything else other than this interview.
This was filmed backstage at Tavastia in Helsinki on the 7th May 2010. By this time Editors had been touring fairly relentlessly and had already done at least 6 months of press engagements. It was their last headline show on their current run and I mention all this because it all makes for a little bit of a low-energy encounter, but understandably so. This was no fault of the lady with the questions, she's just a victim of bad timing. It's a lesson that took years to learn but Editors finally started arranging their obligations more intelligently with the last couple of albums, allowing them to better maintain their physical and mental health and resulting in fewer situations like this one. To his credit, Ed does his best and takes most of the heavy lifting but there's still a sense that they are so well rehearsed in the subject matter of press enquiries around the ITLAOTE campaign, they can see virtually every question coming and probably know what it will be before it's left the lips of their interrogator.
Among the usual probing about the choice to go a little bit electronic on E3, or why they're called "Editors" there are some interesting reveals. From an outside perspective one of the main curses of being in this band (and there seem to be a few) is that even a few days after you release your latest work, songs you may have spent years putting together with care and devotion to detail, people will ask you "When's the new stuff coming out?". Barricades only came out this week and already we're all looking towards what the next album will sound like. In our defence we're just hopeless fans, we think irrationally sometimes and "enough" never, ever feels like enough. That's our curse. We're working on it.
During the final few seconds of the clip Ed talks about the possibilities for the E4:-
During the final few seconds of the clip Ed talks about the possibilities for the E4:-
"We might come up with something that's bloody awful we have to completely write off."
While we don't know about the quality of the recordings made for E4 with Chris having never heard them (oh, the pain), this is exactly what happened. They did indeed write everything of and start over once Chris was gone.
What I'd long forgotten, having only just rediscovered this interview in my stash, was that the film studio that made Twilight:New Moon had suggested lyric changes to for No Sound but the Wind when it was featured in that flick. What's fascinating about this song is that the final version which has been called the last word on the matter, and which was recorded for VI OLENCE, is so much closer to the demo than anything that's been since. I would speculate that this take was in also in some small way Tom taking back ownership of the composition, and discarding the creative compromises that came with it being included on the soundtrack to Twilight. This time it sounds fuller, more polished and Tom actually manages to give a weary tone to the vocals that could probably only come about after 8 years of repeatedly playing it. It sounds like this is the 1000th take in a studio where he's been chained to his piano. Were it not for the pesky full-electric version then the one on VI OLENCE would be the one I'd say is my favourite. I vary on what I believe beautiful is, but I can confidently state that's it.
Enjoy the chatter, subdued as it is ;)
What I'd long forgotten, having only just rediscovered this interview in my stash, was that the film studio that made Twilight:New Moon had suggested lyric changes to for No Sound but the Wind when it was featured in that flick. What's fascinating about this song is that the final version which has been called the last word on the matter, and which was recorded for VI OLENCE, is so much closer to the demo than anything that's been since. I would speculate that this take was in also in some small way Tom taking back ownership of the composition, and discarding the creative compromises that came with it being included on the soundtrack to Twilight. This time it sounds fuller, more polished and Tom actually manages to give a weary tone to the vocals that could probably only come about after 8 years of repeatedly playing it. It sounds like this is the 1000th take in a studio where he's been chained to his piano. Were it not for the pesky full-electric version then the one on VI OLENCE would be the one I'd say is my favourite. I vary on what I believe beautiful is, but I can confidently state that's it.
Enjoy the chatter, subdued as it is ;)
