Metascore
65

Generally favorable reviews - based on 24 Critics

Critic score distribution:
  1. Positive: 12 out of 24
  2. Negative: 1 out of 24
  1. This album is fucking brilliant – it made me want to cut my hair, paint the ceiling, fuck the postman and burn the disco down. So I did. Then I curled up in a corner, cried, and shat myself.
  2. With albums as strong as An End Has A Start, Editors may get the last laugh.
  3. An End Has a Start actually sounds like it was crafted as ten quite individual chapters of a long-running saga; surprisingly, though, it ultimately works better than its predecessor as a cohesive, flowing album.
  4. 80
    Avoiding the ponderous repetition that dragged down songs like “Bullets” on the first record, they concoct a gentler, dreamier atmosphere with less apparent anxiety, and create a shadowy veil of sadness, shot through with hopeful transcendence.
  5. Singer Tom Smith tempers his constant anxiety with flashes of optimism, his brittle nihilism with gooey sentiment.
  6. Tom Smith's emotive vocals and the dense wall of guitars strike the perfect balance between moody, underground noise and more accessible, arena-bound rock.
  7. The band's sophomore disc, which teems with drama and dark dollops of piano that swarm beautifully around singer-guitarist Tom Smith's clarion-call voice, continues to make good on the hype while again drawing on the past.
  8. We'll give the Editors the benefit of the doubt, thanks to majestic jems like 'Smokers Outside the Hospital Dooros' and the existential title track.
  9. It's nice to be reminded that the world is shit and we're all gonna die. Editors have mastered the form.
  10. This is a decent album; it bears a craftsman-like solidity and many fans will no doubt be satisfied (and, more than that, happy) with it. But An End Has a Start is simply not the best album Editors are capable of putting together.
  11. 70
    Editors have acquired a sense of urgency and emotion they lacked on "The Back Room." [Aug 2007, p.98]
  12. In places An End Has a Start is bleakly compelling; nevertheless, great swathes of the record strain towards a pasty arena-rock future.
  13. An End Has a Start turns out to be a pupae album--it's Editors stretching their sonic muscles, poking the first spindles of whatever new form they'll take out of their gloom-rock cocoon come album three.
  14. For all of its stadium aspirations and ggrand soundscapes, An End Has A Start runs together in a way The Back Room didn't. [Summer 2007, p.73]
  15. By producing a more polished, more accomplished sheen while The Killers have roughed themselves up and forgotten to shave, the two bands have moved towards a middle ground where they're virtually indistinguishable.
  16. They are still too tied to their musical ancestors for any serious maturation to take place.
  17. Occassionally, the songwriting does contain flashes of thoughtfulness.
  18. 50
    It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.
  19. The songs get puffed and fluffed up but lose the wiry edge of "Munich," burying Chris Urbanowicz's guitar until it all sounds like Coldplay. Nice tunes, but louder, please.
  20. These 10 songs repeatedly strike the same dynamic and evoke the same vague drama, each sounding more perfunctory--and more soulless--than the previous.
  21. An End Has a Start doesn’t have the glorious indie-disco hits of Editors’ debut, and its toned-down sheen leaves us wishing for more bite.
  22. It's a shame that premature commercial success has sullied Editors' creativity, because An End contains its share of bright spots.
  23. 40
    Tom Smith's stentorian baritone, irritating in its overenunciated approximations of gravitas, is better suited to some community-theater group than a rock band.
  24. A record that's so deathly serious that each of it's ten songs could be associated with its very own biblical plague.
User Score
7.9

Generally favorable reviews- based on 77 Ratings

User score distribution:
  1. Positive: 35 out of 45
  2. Negative: 6 out of 45
  1. Dec 6, 2011
    8
    A very decent follow up to their debut, this has a bigger, grander sound but lacks the hooks and riffs that were ever present throughout The Back Room. It's a progression in the sense that this record aims for a higher return and wider audience while at the same time trying to stay true to their original style. Full Review »