Album Review

Editors, Surface, Echo & Sound: Finding warmth in familiar territory

Words by The Pit Standard

Editors have never been a band to stay in one place for long. From the stark post-punk of their early records to the heavier electronic direction of EBM, they've repeatedly changed the balance of their sound. On Surface, Echo & Sound, their eighth studio album, the guitars take the lead again. The electronics haven't disappeared, but they're no longer driving the whole record. In their place is a warmer, more organic sound built around live instrumentation, melodic songwriting and a noticeably more relaxed pace.

Rating: 3.5/5 stars

The short title track opens with little more than atmosphere before “Call It In” gets things moving. Its jangling guitars and driving rhythm have an immediacy that suits the band, with a melodic directness that recalls the guitar-led alternative rock of their earlier years. “The Rush” follows with another strong tune, its bright guitar work and forward momentum giving the album an early lift. These are Editors sounding comfortable with the fundamentals of a good rock song, without needing to dress everything in layers of electronics.

“Rescue” is one of the record's more affecting moments. Beginning with an acoustic foundation before opening into a fuller band arrangement, it gives Tom Smith's voice room to carry the emotion without pushing too hard. There's a genuine warmth to the performance, and the gradual expansion of the arrangement feels earned. It is the sort of song that benefits from the album's more natural recording approach.

That warmth is also what makes “Shadow” interesting, although its slow-burning arrangement takes a little longer to justify its length. The song gradually gathers weight around Smith's vocal, reaching for a widescreen, almost arena-sized chorus. It has the emotional sweep Editors have always been capable of, but the restrained build means the payoff isn't quite as powerful as it could be. “Real” takes a more unexpected turn, bringing in a stomp-clap folk rhythm and acoustic strumming. It's an unusual sound for the band, and while the change is welcome, the song doesn't quite have the melodic strength to make the departure entirely convincing.

The slower pace continues through “Happiness”, a reflective track that favours atmosphere over a strong rhythmic hook. There are moments when the album's softer approach works beautifully, but here the arrangement feels a little too settled. Editors have always been particularly good at creating tension, whether through a persistent bassline, a gathering electronic pulse or Smith's increasingly urgent vocals. Without that friction, some of the material risks drifting rather than developing.

“Much Love” provides a welcome change in temperature. Its driving bassline and darker electronic details bring some of the band's more familiar intensity back into the picture, while still fitting the more guitar-led surroundings. It's a reminder that the different stages of Editors' career don't have to be treated as separate identities. Their electronic instincts remain an important part of what makes them distinctive, and the album is stronger when those elements are allowed to sit alongside the live instrumentation.

“Butterfly Wings” returns to a lighter, more organic sound, while “Seriously”, co-written with Andy Burrows, leans into a measured acoustic-rock arrangement and a strong, straightforward melody. Both have an easygoing quality, although neither quite reaches the emotional heights of “Rescue”. The closing “The Hills We Died Upon” is similarly understated. Smith's voice is left exposed against a sparse arrangement, bringing the album to a quiet conclusion rather than reaching for one final dramatic moment.

There is a lot to appreciate about Surface, Echo & Sound. The performances feel natural, the melodies are given room to develop, and the band sound less interested in chasing the production-heavy intensity of their previous record. That change brings its own rewards, particularly on “Call It In”, “The Rush” and “Rescue”. But the decision to pull back also exposes the limitations of some of the songwriting. Several tracks settle into a similar mid-tempo mood, and the album could use more of the contrast and urgency that have made Editors such an engaging band over the years.

Surface, Echo & Sound is a worthwhile addition to the Editors catalogue, with enough strong material to make the change in direction feel justified. It doesn't have the immediate impact of their most compelling work, and its quieter stretches occasionally test the listener's patience. But there is real pleasure in hearing a band put the emphasis back on playing together and writing a memorable song. The results are not always striking, but when everything falls into place, Editors sound very much at home.

Artist: Editors