Releasing two near faultless albums sounds great, but when it means the third has a lot to live up to then the pressure is surely on. For their third effort, Errors have decided to add something new. Of course, vocals aren’t exactly ground-breaking in the world of music, but the post-rock, post-electro (will the post-s never end?) four-piece are dabbling in it properly for the first time. But new is all very well and good, but consistency also rules, and here, the Glaswegian’s have weaved another web of electronic glory.
Huge mesmerising tunes that cry for a dancefloor setting, but that also call for the cocoon of headphones. Lie back in the darkness and be enveloped by the warm folds of layered, rich sounds; driving rhythms; and stronger melodies than the band have ever cared to share with us before. This is their magic. Album opener ‘Tusk’ is spellbinding shimmer; driving guitar melts blissfully into a rich synth hook. It flows into ‘Magna Carta’, which gets the first touch of those vocals. Anyone expecting deep lyrical meaning would truly be in the wrong place, voice just becomes another melodic, echoing layer among hooked intensity of electronics and considered percussion. But if there ever was a song that proved it was time for Errors to get those vocal cords warmed up, the entrancing ‘Pleasure Palaces’ is it.
It’s not all warmth and sunshine, ‘Blank Media’ is a moment of downtime amongst the rest. A slower pace: flooded vocals soar above waves of sound reminiscent of an 80s geographic documentary on warped VHS. ‘Canon’ is cold; eerie, plucked steps into a gloomy world, while ‘Earthscore’ plays a little with modern electro Gregorian chant, a dark monastic beat. The album flows as a whole, but not to the detriment of each individual song. Each track has its own definition – its own moment of sparkle or darkness; bright melody or shadowed beat. Yes, this is their magic. They ask us to have faith, but with a testament this rich and true, our belief is certainly not blind.