Editors Interview (Full Transcript)

13 02 2010

We sit down with Russell Leetch of Editors to discuss the collaboration process with Flood to create their new album ‘In This Light & On This Evening’, and the band’s will to work with him on their follow up.

Russell also tells us about their fast cluttering studio of synthesizers, the band’s krautrock influences and his opinions on their music videos.

Moving away from the known to the unknown must have been daunting but also exciting process.
I guess we weren’t really scared of it at all. I think we try to show on each record that we do something different and not being afraid of it. I mean, the second album was quite pop and very crisp, I guess, we showed that we weren’t really scared to do that. And now we’ve also showed that we like to do something that’s a bit more abstract, I guess, it might take a few more listens. We just like to release records really.

Were you worried what the fans would make of this album?
I think a lot of our fans really like it; I mean the reaction that we’ve had… I think if we’d released this record straight after the first then I think people would have seen that coming a little bit more, to be honest. So, yeah, I think people like it, so that’s good.

Was Bricks And Mortar a deliberate allusion to the 1984 Terminator theme by Brad Fiedel?

Yeah, I guess the melody is similar, that duh duh duh… I guess that was one of the references that… I think we passed a fleeting reference that we were influenced by the Terminator soundtrack and then it kind of got stuck. So yeah, there is less to that than people think.

How much was Flood a part of your music making process?
Well yeah, he’s instrumental in making records like this. He’s worked with Depeche Mode, U2 and Nine Inch Nails – so yeah, he’s got a history but we weren’t scared of that. He doesn’t seem like a guy, when you’re stuck in a room with him, that’s got all of that history. He was just a lot of fun to work with, we’ve got a good relationship and we’re going to do at least one more record with him; it feels like we’ve got unfinished business there.

I can really here Depeche Mode in ‘Papillon,’ was that intentional or inevitable working with Flood?
To be honest, we started ‘Papillon’ by ourselves; it still has that eurhythmics riff – big kind-of drum beats by itself. But we always wanted to make a tune in homage to New Order and with that one we did it more so than with others. So yeah, it was just a lot of fun… we tried to make it as instant as we could.

Could you tell me about how you collaborate as a band? I read that you each go off to write your own bits before collaborating together. Is the distance good for creativity or can it be stifling at times?
We just don’t like getting in a rehearsal room and trying to come up with something there and then. I think you need time to ponder on it and time to think “I want it to go in this direction” and someone else to think “I want it to go in that direction.” So yeah, the collaboration process works – I think it’s more interesting like that.

Do you find that you can go in completely different directions with a song and end up fighting over where to take it?
Sometimes, yeah, and I think that’s why you get a producer involved, to kind of look down on it all a bit.

Did Flood come into the process once you had all gone away and worked on the songs individually?
Well no, he actually got involved from the start, but it wasn’t until we all got in the rehearsal room that we put our ideas together, so that was quite fun. Flood would just throw in things like ‘Eat Raw Meat = Blood Drool’ was not a song that we all particularly wanted to work on from the initial demo, but Flood said he liked the song and we should record it – he was right with that.

The title of that track is quite odd, what’s the story behind that?
It was an image from a Banksy Mural that Tom saw of the Houses of Parliament all as monkeys. There are problems with the government and we’re not happy.

I know you’ve worked with new instruments and new sounds on this album, is there any other new equipment that you’ve been playing with that we can expect to hear on the next album?
We’ve got loads of synthesisers now and I think we need to experiment with them a little bit more. We all get involved with that, it’s good to just mess around and see what we come up with. I think that’s the best thing to do when you’ve got new toys.

I can hear a choir in Walk The Fleet Road, how did that come about?
Well there’s no choir, I think that might be a synth mixed in with the backing vocals from myself, Chris and Ed. Any voices you hear extra are just us three. It’s just how we treat the vocals, how we mess them up a bit; it’s a lot of fun to do it that way.

How interested are you in the visual output of your band as opposed to the music?
Very much so, especially the album artwork – we love album artwork, that’s really important to us. That’s the really fun bit for us, when we’ve completed the record, saying what its about, roughly and then getting someone’s visual interpretation of it. They come back with loads of concepts for the sleeve and that’s the really fun part. Videos – they’re really hard, because you never know what it’s going to turn out like. Sometimes its really good, and then other times you get a video that you don’t like and that’s it really.

Which videos don’t you like?
I don’t particularly like the new ‘Papillon’ video. I don’t really like the ‘Blood’ video. I don’t like the first ‘Bullets’ video – so yeah, there’s quite a lot that I don’t like.

You’ve said that The Stokes, REM, Elbow and Radiohead among others have influenced your previous work. I was wondering, because of the direction of this album, if you’ve sought stronger influence from other areas?
I don’t know, we all listen to krautrock stuff like Neu! or even Kraftwerk; we’re not scared to listen to that. We didn’t want to make a completely out there record like a ‘Kid A’ or something but we wanted it to have lots of big songs, but with a different kind-of feel. We’re always constantly listening to new stuff; I’ve been listening to the new Spoon record, that’s great.

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2 responses

13 02 2010
Editors Interview Published. « Marjoda's Blog

[…] Flood, their krautrock influences and the Terminator theme music. Read it here on Click Music, or here on my […]

20 11 2010
marjoda

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