Eldritch

...at least some people are nowadays criticizing them of sounding just like the old Editors and not you-know-who.

The bonus cd Cuttings 2 is also recommended. I was expecting them to sound like b-sides to the songs from the album, but the 5 songs on it are like the next step forward for Editors: more abrasive and industrial, heavier than anything they have done before. A Life As A Ghost should have definitely have been on the proper album.

...are the cancer of music journalism and all cultural critique. They encourage people just to look at the score, take it as a fact and not bother to read what the critic has to say – and only after that decide whether (s)he is worth trusting.

However, Still Night is a big disappointment for me. Not only have they not moved forward one bit, there is no one song here as strong as The Lucky One or A Violent Yet Flammable World.

...the song also references another Bret Easton Ellis novel: Glamorama, in which the words "disappear here" serve a central purpose to the plot.

...they have also an 8-track electrofolk album in the bag. They intended to release it as a companion piece to this one, but decided to postpone it a bit. Velocifero means "a bringer of speed", so that's why they wanted to make a consistently uptempo album. But yes, I agree, a couple of slower tracks would have improved it even more. Still, it's a very good album, even though there's not one song as stunning as Destroy Everything You Touch or International Dateline on it.

That is indeed a much better tracklisting, although I personally think Last Of The Famous International Playboys and November Spawned A Monster should be on any proper Morrissey "best of" compilation.

I agree with the review, but can't resist pointing out that Quarry came out in 2004 and not in 2000.

I truly hope he's saving the better new songs for the next studio album and therefore giving this lacklustre offering to a needless "greatest hits".

Things seem to be going too well for Morrissey these days. Whenever he's on the ropes, he usually comes up with an Vauxhall & I or an You Are The Quarry (the b-sides of which were better than most of Ringleader). But when things are going swimmingly, we get a single like this: a song title looking in vain for a tune or even a memorable couplet.

I thought i was a very bland rehashing of past glories. Bar I Thought You Were My Boyfriend, which is probably the best synthpop song ever to not actually feature any synths. The Gothic Archies album had its moments, but it's easy to follow Merritt's decline, since the songs have been recorded in chronological order, one every year. He keeps recycling melodies and the lyrics feel like empty excercises in formalism: all wordplay, no heart.

For me this is Stephin's last time to show that he didn't shoot his load with 69 Love Songs. Nearly everything before that (Get Lost, Charm Of The Highway Strip, the first Future Bible Heroes album) was excellent, yet everything after that magnum opus has been disappointing, listless and even unlistenable (Showtunes).

It's a tremendous album. Their debut was fine, but they have really taken a great leap forward with this new album. The title track is the best song I have heard for a long time, and The Weight Of The World has me in tears every time I hear it.

album is utterly disappointing. I really liked about half of the debut and wished that would come up with a killer secoond album to spite all the haters. But this is just utterly bland and insipid: gone are the fun new wave syths, in are a newfound maturity and a watered down Britpop sound. On the whole album there is not one even remotely as good a song as Unconditional, Tyrant, Give in, No Brakes or Honest Mistake. And the acoustic ballad Tragedy Bound just beggars belief.