A question I'm used to getting is 'who's the number one act you want to photograph?' and I've always had the same answer: Editors. They're a band I've enjoyed for years, but not because of merely one album. No, my intrigue towards Editors has been how they constantly aimed to progress and change their dynamic as musicians.

As of now, they've released five albums, each of which are vastly different from one another, yet retain characteristics that fans of the band have grown to love. Last year I travelled with them throughout the UK, witnessing how their live show also reflected their growth. The passion of their fans, and the passion that they shared for one another was greatly evident, as was the excitement everyone shared for In Dream. A while back I got sit down with drummer Edward Lay and discuss the creation of In Dream, which we're happy to share with you on the revamped 405.

I just want to start by saying what a pleasure it is to talk to you. As a fan of the band, it always surprises me how misunderstood Editors have been throughout the years. That in turn is what made the last album so rewarding, because it felt like you guys were achieving a new form while celebrating the fans and the lives you've lead so far. It felt like you were reclaiming something that never truly left, if that makes any sense. What was it like coming off touring for that album?

We were coming out of a festivals, so the grueling tour was well behind us, and we were diving into shows every weekend and had free time in between where we were all thinking no longer about the old songs, but where we might like to go with the new stuff.

It's a funny thing, being in a band and touring, because although it seems sometimes that you are doing your job in exactly the same way, slight differences creep into the shows and without you realising sometimes, the dynamic of some songs and your performance has shifted. It's much like that when you have a collection of songs for a record. Early on in the process, the demos have an identity, and over the course of first rehearsals, into full band demos then going to record and mix with a production team, the dynamic of a song can shift dramatically. The effects of this can go either way, but no doubt it happens. What we did with this album is to record stuff really quickly, which enabled us to keep the essence of the song ideas without overworking them. If things were sounding great then we would move on quickly to a track which wasn't necessarily, and be able to put our production time and ideas into those that needed them. It makes the album sound like it has purpose, and I think you can clearly hear the influence of the whole band on each song.

And you didn't really stop, in terms of preparing for a new album. When did writing and recording for album five officially start?

We finished festivals in September 2014, but there was so much enthusiasm to get into the rehearsal room and start expanding on the songs that Tom and Justin (for the first time) had written, that we booked up a space for the beginning of October. It certainly wasn't an official start date for recording though. We hadn't enough material, and the session was only meant as a writing period - but after a couple of weeks work we listened through to what we had and realised we were actually capturing some great moments on record, certainly stuff that we couldn't just rip up and start again with a producer. It was only then that we made the decision to book in some more time in the same space and actually assume the responsibility of recording an album by ourselves. We would never have had the confidence to do so initially; it just came about without thinking really.

At this stage, does the days leading up to recording a new album feel similar as the last or does each build up feel different?

As I say, it didn't actually feel like we were on our way to record. But for me, I have always felt extremely tense in the lead up to recording, as I feel that unlike a live show where the moments are just those, everything you do in the studio is put down and catalogued in your body of work for eternity. It shits me up! But with experience, I have learned not to overthink parts before I get into the studio and work with the other guys, as some idea can totally transform a song and everything I have worked on previously can be discarded, which can be a blow. We all have to be very adaptable. I find that much more of a thrill now.

People in the press will undoubtedly say that 'No Harm' and 'Marching Orders' remind them of album 3 but I myself truly see those tracks, and the album itself, as an extension of the last album. It's clear to me that you couldn't have arrived at this point without making The Weight of Your Love. Do you feel that way at all, that this upcoming album was possible due to The Weight of Your Love?

Absolutely agree. There are moments on the last album sonically which we have learned from, the whole process of getting a band together and living together in a different country - we recorded over 6 weeks in Nashville whilst sharing a house in the 'burbs - was absolutely necessary to get our band back to working ways after Chris' departure. I feel every member took responsibility for the band as a project in the making of The Weight Of Your Love, and now the way we communicate in the band has changed in a very positive way.

Could you see yourselves making another album entirely on your own?

I'm sure we now have the confidence to consider it. But also, we don't traditionally like repetition. We have recorded five very different records now, all with different producers and all in very different locations. If we did it ourselves again, I doubt we would go back to where we were so as not to feel too comfortable, in the fear we would just fall back into the same style and same types of sound. I'm sure it's an option, but all options are open.

How and when did you guys meet Rezvani?

Through a guy who choreographed and danced in the video to 'You Don't Know Love' called Damien Jalet. It's an extraordinary video by the way, really stylish and the movement in the dancing is astounding. Anyway, he is a mutual friend of Rahi, and suggested that he would like our music and aesthetic. Then we met him at a show in 2013, which he photographed, and instantly found a mutual respect for each other.

What were those initial conversations with Rez like when you told him about the vision for the next album? He's sort of become the bands art director in a way.

We didn't speak to him about the stuff we were recording at all. After we booked the second session in Scotland, we knew we wanted Rahi to come up to the space and document it, as it was so stunning. He suggested that he'd be interested in designing all aspects of the artwork from the videos to the cover art, and we loved the idea of everything being linked through the whole campaign, rather than a cover from one person, videos from five or six and the whole aesthetic looking jumbled up. It was a leap of faith from both parties though - he hadn't got a clue what sounds and songs we were recording, and we hadn't worked enough with him to know what sort of stuff he could achieve for us. We knew he was a true artist though, and felt to forge a link with him at this moment, was an opportunity we couldn't miss.

Now that the videos for 'No Harm', 'Life Is A Fear', and 'Marching Orders' are out for the world to see, how do you feel about them? How has it been seeing people's reactions?

People are seeing what we see. Rahi takes our music, makes a story in his head about how it makes him feel emotionally and translates it into an image, which is often stunning and provocative. They are great videos as to me, they give something extra to the songs that they are about, rather than make you watch them and forget about the music. His attention to detail is stunning, and I think the artwork for the physical releases have been extremely well received too.

After so many years together, how do you feel the band inspires and influences one another?

I feel that we have gone beyond having musical roles in the band now. By that I mean that I no longer feel like just the drummer, Russ no longer just the bassist etc. We feel more of a collective group, in which anyone can give an opinion on the music, or the operational side of being in a band, and that each members' opinion is equally valid. I think it's meant we can be more creative than ever.

I've worked with bands before where you can feel a sense of trepidation amongst the band members but that doesn't seem to be a problem for you guys?

Having a change of personnel ten years into a band's life has meant that we all had to look at ourselves, and what we want to do with our lives. The band could have quite easily been parked and we could have gone to work stuff out on our own, but the three of us all felt it was too important to walk away from. Justin and Elliott have now fully integrated themselves into the band, and as I mentioned before during the recording and touring of The Weight Of Your Love, we all truly want to be doing what we are doing in this band, and doing it with both passion and integrity.

Would you believe that one of my favourite things to do from time to time is watch your set at the Ziggo Dome? To me that performance is such a great celebration of where the band has ended up, especially considering how long you've been together. Chart success comes and goes but a show like that must make you guys feel as though what you've done/are doing matters, yes?

Wow, that's great! It blows my mind that we get to perform shows like that, with huge crowds and truckloads of production. What's great about our band though, is that the next night we were probably playing in a venue a fraction of that size in a different country, and it means we have to be adaptable on a show-by-show basis. It means we don't get blasé about the big shows, but we can get excited as ever about them when we do play them.

 photo EditorsSetlistBristol_zps5k6rfqta.jpg

Have their been conversations about how you'd like to expand on the current form of the live show?

We have thought about doing some stripped back shows at some point, or a combination of that and full band stuff. We had to play an acoustic show at a German festival last year as Justin was unable to play, so we rented a little room in the hours leading up to the show working out a sort of unplugged set. It was all a bit rushed, but the crowd was really responsive and it felt like a little special moment, that came from a situation that could have meant the gig was just cancelled.

The live shows can only get better from here but I am curious as to how you feel the new songs have changed the live show, especially since these new songs seem very electronically driven?

We have tried to balance the electronics of the new stuff with the power of real drums and guitar onstage, to almost get a hybrid of the two. I feel that it's working great, and I'm sure a couple of them will evolve as the tour goes on. The mix of new and old seems about right too - everyone will have their favourite record of ours, and some punters will always be disappointed that we didn't play their favourite tune, but the response from the punters I've spoken to so far has been so positive. It feels like we are getting the most out of all the songs we have got in the set list for sure.

Even though it's early in the tour, what's become the band's favourite new song to perform live?

I am really loving 'Forgiveness'. It's got a big groove, and has that simplicity about it that makes it seem to capture an audience straight off.

Also, are there any old songs you'd love to bring back? I vote for 'The Boxer'.

Good song, not out of the realms of possibility I suppose... But I'd quite like to hear 'When Anger Shows' off the second record again. I think with the new guys input we could get something quite special going on with that one live. Maybe one for rehearsals next year!

From a photographer standpoint, I've noticed your previous tours have been quite dark. What inspired you guys to have this new lighting rig?

We hate seeing gigs that look like they are lit for TV shows, with loads of front light and LEDs, but we also thought we should balance up a little bit from the gloomy lights we have had at some points previously. A lot of people actually want to see the band apparently [laughs], and with a frontman who is developing into a special performer as the years go by, we thought now was the time to do it.

Lastly, what do you think is an element of In Dream that will surprise people the most about Editors?

I just don't really think it sounds like anything else. That may seem like bollocks, and people may not agree at all, but we have always had comparisons chucked at us without too much thought. To me, this album has the emotion that we inherently have in our music, but each song has it's own little sub-plot, and the record as a whole has the influence of its surroundings and the personalities of its players ingrained into it so much that I reckon there will be people who assume that they don't like our band, who may really love this record. That would definitely surprise some.

In Dream by Editors is out now, through PIAS Recordings.