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It wasn't so much a minor contrast, as a giant gulf in glamour.

Hold up Editors next to someone like Dizzee Rascal - whom they were paired with on last week's episode of Later…With Jools Holland - and they might look, in comparison, like four ordinary blokes from Birmingham.

It's that very image that has lead certain parts of the music press to tag them as characterless, businesslike and sterile.

"You can't take it seriously," says lead singer Tom Smith. "We don't like to be described as businesslike, it's like of course you don't, you just do what comes natural."

"We've always split opinions - that's fine."

Indeed, why should they care, since releasing their debut album The Back Room they're sold over 2 million albums.

Bassist Russel Leetch picks up: "It makes us sound like we've got a strategy or recipe of what we're supposed to do and we just don't know - there's always going to be some backbite for success."

"It makes us sound really calculated and the only thing that is calculated is them," adds Smith.

Apart from defending themselves against dissenters there is of course an album to talk about too.

In This Light And On This Evening is the Birmingham foursome's forthcoming third effort, the follow up to 2007's An End Has A Start.

All proliminary talk has focussed on the introduction of more "electronic" synthesised sounds into their mix of driving pop-noir.

Recorded over a six week period in Cricklewood, west London with producer Flood, and despite being their "more spontaneous" to date, there was a conscious effort this time not to rush.

"Last time we were just kind of struggling to get that second record out quickly," admits Smith.

Russel Leetch: "You don't want to be forgotten about. You try and work to the best of your ability and quickly."

Back in July Smith, in an uncharacteristic outburst, took to the band's official forum to explain how he was bored of journalists asking about the band's supposed "dark" nature.

However, songs on the new album do continue to ponder on some weighty themes, including the world's financial crisis and Smith's lack of trust in the custodians of power.

"Every time you turned on the telly it was people not quite being sure where all the money has gone so the lack of trust with those people who're supposed to be in charge of that," he says.

"I'd hesitate to call the songs political but there are two songs on the record that are that way charged.

"Some of it might come down to being a dad, you know? You take a step back and look at the world around you. It changes the way you look at things - I guess you have to be less selfish."

This woven next to Smith's thoughts on god, or more matter of factly, the lack of one.

"I'm pretty clear on the topic," he asserts. "I still find the whole idea of faith and religion an interesting avenue. It's not just dismissing it for dismissing its sake.

"The idea of faith is an amazing one, the idea that people put so much believe into something they don't understand is an incredible thing whether it's true or false.

"People who use the canvas of religion to gain power - it's a very scary thing."

In This Light And On This Evening therefore evolved as a pretty bleak vision, one which in their explanation "looks like Blade Runner".

It is an interest in late 70s, early 80s cinematic visions of the future that power the mechanical themes of the record - or as bassist Leetch puts it, the contrast between "man and machine".

"If we do find life on a planet and they're a bit stupid maybe everyone's going to be really disappointed," he laughs. "It'll be interesting to see if something like that does crop up."

It's a scene Editors seem well geared to soundtrack and an aspiration the band collectively would like to fulfil.

"We'd love to (soundtrack a film)," says Leetch finally. "It'd be great to do something kind of indie art film I guess but also something like District 9 would be a totally amazing thing to do."

In This Light And On This Evening is released on 12 October.