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Story and photos by Andy Argyrakis When Editors officially debuted in 2005 with The Back Room (Fader Label), the group was immediately compared to Joy Division, but also lumped into the pool of Interpol, She Wants Revenge and every other like-minded flavor of the day. Though there was a certain accuracy to all of those tags a half decade ago, the Brit-rockers have since established an individual identity thanks to an experimental evolution that's currently found the fellas embracing icy synths and incorporating hints of electronica into an already explosive, occasionally hypnotic framework.On its latest trip through Chicago, the band's emphasis may have been the new In This Light and on This Evening, but there was also a subsequent stack from its above mentioned breakthrough disc and a smattering off 2007's An End Has a Start. Regardless of the era, one of the group's strongest assets is frenetic front man Tom Smith, who started the show at an upright piano for the current title track, followed by strapping on an entrancing guitar for the older "Lights." Come "An End Has a Start," the dim lights and ominous fog transitioned towards a strobe light showdown to aptly build the escalating aggression and usher in the group's brooding undertones. The angular guitar charges of "Bullets" and the dance floor flourishes of "Blood" showcased Editors' '80s inspired variety, while "The Boxer" gave a rare glimpse into the group's subdued side. After kicking up plenty of dust with the electricity-drenched "Smokers Outside the Hospital Doors" and the electronica-doused "Bricks and Mortar," the foursome left the stage only to return a few seconds later for a quartet of encores. The unavoidably entrancing grooves of "Papillon" recalled a modern day Depeche Mode as the grinding "Fingers in the Factories" secured Editors' slot as post-punk powerhouses who not only tower above the competition, but are likely to outlast that same pack in the process. |
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