Currently comprised of Tom Smith (vocals, guitar and piano), Russell Leech (bass, synths and backing vocals), Ed Lay (drums, percussion and backing vocals). Justin Lockey (lead guitar) and Elliott Williams (keys, synths, guitars and backing vocals), the Stafford, UK-based quintet Editors can atrace their origins to when the original lineup featuring former members Gerraint Owen and Chris Urbanowicz met while studying Music Technology at Staffordshire University back in 2002. And although they’ve gone through both a series so name changes and a lineup change, the quintet has been both critically and commercially successful — the band’s 2005 debut The Back Room had two hit singles, “Munich” and “Blood,” and was nominated for a Mercury Prize. The band’s 2006 sophomore album, An End Has A Start had a Top 10 single “Smokers Outside The Hospital Doors” and landed at Number 1 on the UK Charts. And as a result, the band was nominated for a Brit Award for Best British Band. 2009’s In This Light and on This Evening landed at Number 1 on the UK Charts. 2013’s The Weight of Your Love and this year’s In Dream were also released to acclaim. Overall, the band whose sound has been compared favorably to the likes of Echo and the Bunnymen, Joy Division, Interpol, The Chameleons, U2 and Coldplay has two platinum albums and all of their albums have sold several million units.
“Ocean of Night,” the latest single off the Stafford-based quintet’s latest album, In Dream is a slow-burning piano and synth-based song that builds up tension until a rather cathartic release that comes with a soaring and anthemic bridge and coda — with electronic flourishes. Sonically, the song reminds me quite a bit of Coldplay’s “Clocks” and Free Your Mind-era Cut Copy as it’s an enormous, crowd-pleasing, radio-friendly song that you can imagine a stadium crowd singing along lustily.
Interesting, Belgian electronic music artist Henri PFR released a slickly house-music remix of Editors’ “Ocean of Night” that pushes the song’s tempo up while pairs Smith’s sultry baritone with layers of twinkling synths and an enormous bass drop, essentially turning the song into a club-banger, while retaining the song’s anthemic hook.