Call it post-punk twice removed. Five years ago, New York scenesters Interpol landed, borrowing more than a little from the stark sounds of Joy Division, Echo & the Bunnymen, and the Chameleons. Now we have Editors stealing the sound back to England (their hometown of Bristol, specifically). With eyes closed, a listener could be easily persuaded that The Back Room was, in fact, a new Interpol album. All the elements are there: icy but dramatic vocals; stabbing, echoing guitar lines; and Teutonic drumming. This would all be a bit shameless if Editors weren't so good at it. Songs like "Munich," "Blood," and "Bullets" are nearly flawless singles, and the rest of the album holds its own against them. Frontman Tom Smith is an assured singer, his voice bringing warmth to the band's otherwise chilly exterior, and on repeated listens, the comparisons fade. If there is a complaint to be lodged at The Back Room it is not that the songs sound too much like other bands' material, as much as they sound like one another. Some choruses are almost interchangeable, and nearly all the songs barrel out at the same breakneck speed -- only "Camera" dares to slow things down. This is more a worry for a third album than a debut, however; it will be interesting to see where Editors go next.