Send "Errors " Ringtones to your Cell 
| Bbc |
 The critical success of Errors’ gloomy, pulsating 2008 debut LP, It's Not Something But It Is Like Whatever, could have been the catalyst for the Scottish electro-indie ("post-electro," says Wikipedia) four-piece to unleash a rapid-fire succession of releases exploiting the bubbling momentum surrounding them. But rather than rest on their laurels, Errors pressed on with furthering their sound and, following a touring schedule that’d punish the most wanderlust-possessed act, the rich ambition of Come Down With Me arrived. A vindication of Rock Action’s patient support, and of the band’s own convictions, Come Down With Me is now followed by a third long-play set – and anticipation has been rightly brewing.Dedicated to relatively small evolutions over giant leaps into the unknown, Errors have progressed from the tempered darkness of their debut and the shimmering shoegaze and rumbling beats of its successor to deliver their most composed, defined album to date. The cold, metronomic percussion is as exact as ever, but here it’s nuanced by the confidence to commit previously half-heard vocals to the mix in a more pronounced fashion. Balanced and shaded, these contributions give the album a subtle layer of humanity that melts into the synthetic backdrops beautifully and, significantly, are not the distraction they could so easily have been. Not a band to indulge in the ostentatious, the vocal aspects are as considered as any element in Errors’ controlled musical mechanics. Looped and processed wails waft into the electricity around them – they’re a welcome stranger, too, bringing colour to Pleasure Palaces which syncs wonderfully with the outfit’s unflinching heartbeat. Elsewhere, words possess Barton Spring with an eeriness that’s reminiscent of The Longcut’s raw vocal charge....full text |
| Musicomh |
| Adding vocals to pop music is not usually something to write home about for most bands. For Errors, who have been described as being post-rock or post-electro since their inception, it certainly seems to be something that the band are quite keen to highlight. The fact that Errors’ Steev Livingstone describes the addition of the vocals to the band’s sound was “intended that they should be treated as another instrument” hints at Errors’ post-whatever dynasty. Normally, it just isn’t an issue – particularly when making a pop leaning album as Have Some Faith In Magic has been somewhat misleadingly proclaimed as being. Whilst Have Some Faith In Magic is most certainly Errors’ most pop-tinged effort so far, it’s more of a faint hue than an all out dancefloor bothering hit fest. For those balking at the concept of Errors’ songs having vocals or dabbling in the shallow end of Pop, there’s little to worry about. There are no massive choruses or complex lyrical structures to be found here just finely crafted nuances and delicate balances all lovingly pieced together with a watchmaker’s precision. It’s the nuances that serve as something of a double edged sword for Errors. Make no mistake, Have Some Faith In Magic is wonderfully deep and entrancing, but it does take time to find its way into the consciousness and establish itself. Although there are strong melodies to be found in the smoke-like tracts of many of the songs, they are fleeting and almost impossible to grasp. It’s possible to listen to the whole album, reach the end, and not be able to remember anything about it whatsoever....full text |
| Bowlegsmusic |
| This slab of electro prog is atmosphere defining – from the intro on track one it’s got an obvious cool vibe. Starting off lovely and clean, it darkens throughout the record, gushing bright energy, twisting into something quite alien. Powerful at times, with lovely and often sudden textural changes, the tracks take elements from dance and 80s prog rock, with added drama. There is also significant influence from 90s games consoles, arranging funky lead and rhythm lines into retro synth parts. There’re a few reasons why the album tends to feel on the small side though. It’s occasionally too clean; there could’ve been more rogue agents in the performance and the sounds; maybe the drums are too tidy at times. It doesn’t immediately give the air of magic the title and track names suggest, but the second half of the album is much more satisfying in that respect. The Knock is a fave. Nailing the strange side of the album it gives off a creepy, War of the Worlds vibe with bubbling ‘talking’ synths. Have Some Faith in Magic isn’t quite what I expected from the title though, but it’s great party music, it’s got a unique vibe, it’s colourful and it’s wonky....full text |
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