Since their 2006 debut album, How Clean Is Your Acid House, Errors have come a long way. Having started their career gigging around Glasgow and the west of Scotland, seven years and three albums later, rather than playing Paisley, Kilmarnock and Hamilton, Errors are venturing much further afield. This includes Barcelona, Philly, Toronto and Los Angeles. However, for anyone whose followed Errors’ career closely, the success and critical acclaim that’s come their way is no surprise. Errors always were a band that were destined for great things. By their fourth album, Have Some Faith In Magic, which was released on Rock Action Records in January 2012, critics were haling a truly innovative and groundbreaking album. Genre-sprawling and innovative, it’s no surprise that Errors fourth album is in the long-list for 2012s Scottish Album Of The Year Award. Indie rock, dance and electronica became one on Have Some Faith In Magic, which saw Errors crowned one of Scotland’s most successful and critically acclaimed bands. 

It was back in 2006 that three Glaswegians, Stephen Livingstone, Simon Ward and Greg Paterson, plus Paisley-born drummer James Hamilton, released their debut album as Errors. Entitled How Clean Is Your Acid House, this was the cumulation of several years touring Glasgow and the surrounding area. On its release, How Clean Is Your Acid House was well received by critics and established Errors’ reputation as a band with a big future, who released genre-sprawling music. This was reinforced by their sophomore album.

Between the release of Errors’ debut album How Clean Is Your Acid House in 2006, and their sophomore album It’s Not Something But It Is Like Whatever in 2008, other bands faltered and splintered. Not Errors. They persevered, continuing to hone their sound. Having spent two years further honing their sound, Errors sophomore album, 2008s the surreally titled It’s Not Something But It Is Like Whatever, was a unique and inimitable fusion of indie rock, chiptune and electronica. Taking inspiration from everything from Krautrock legends Neu, Aphex Twin’s fusion of electronica and ambient, indie rock and Explosions In The Sky’s post rock sound, It’s Not Something But It Is Like Whatever was almost impossible to pigeonhole. Quite simply, it was a unique album, thanks to Errors’ refusal to stand still musically.

Another two years passed, before Come Down With Me was released in 2010. Among the influences that shawn through were indie rock, dance, electronica and synth pop. Errors’ music seemed to be in a constant state of flux. Evolution rather than revolution seemed to Errors way. Again, critics hailed Errors’ ambition and bravery. Their refusal to stand still musically resulted in captivating and intriguing music. Then, in October 2010, Errors Come Down With Me was given a makeover, when Errors released their first remix album, Celebrity Come Down With Me.  Just over a year later, when Errors released their fourth album, Have Some Faith In Magic they were now a three-piece band.

When Have Some Faith In Magic was released in January 2012, Errors were just a trio, composed of Stephen Livingstone, Simon Ward and James Hamilton. Greg Paterson had left Errors. Ironically, he’d left Errors just before Have Some Faith In Magic was hailed as a truly innovative and groundbreaking album. Fusing numerous musical genres and influences critics and fans bought into Errors’ unique and inimitable sound. Seen as a coming of age from Errors, it was as if everything that had preceded Have Some Faith In Magic, was leading up to it. So, it’s no wonder it found its way onto the long-list for 2012s Scottish Album Of The Year Award. After all, Errors were now one of Scotland’s biggest and most successful bands. You’ll realize why, when I tell you about Have Some Faith In Magic.

Opening Have Some Faith In Magic is Tusk, which has nothing whatsoever to do with Fleetwood Mac. Not at all. This track has a pulse. Meandering, almost prog rock keyboards are joined by screaming, searing guitars, played by Simon Ward and Stephen Livingston. Errors kick loose, unleashing a rocky sound. This isn’t indie rock. No. It’s grown up rock, rock whose plums have dropped. Adding to this rocky backdrop is James Hamilton’s thunderous, pounding drums. He’s almost punishing the drums. Providing a contrast are synths, reminiscent of early eighties OMD. Soon, the synths take on a buzzing sound, reminding me of Acid House. Musical genres and influences merge into one, producing a bold, grand and melodic soundscape, which unfolds in dramatic waves of sound. 

Dark synths and pounding drums open Magna Encarta, producing a hypnotic sound. Swathes of raging guitars, drenched in reverb, fill the spaces left by James drums. A dubby vocal is panned behind the arrangement. If you strain, you can almost make it out, behind the glorious sound of Errors rhythm section in action. Banks of synths duel with the rhythm section for control of the arrangement. Like two gunslingers, it’s rock versus electronica, albeit with a twist of jazz, thanks to the almost freeform nature of parts of the track. In the end, it’s a dead-heat. Neither rock nor electronica are wounded. Both wander of into the sunset, having played their part in a storming fusion of musical genres.

Washes of glacial, ethereal synths glide into the distances as Blank Media unfolds. Partnered by darker synths and spacious drums, a melancholy sound develops. The track takes on a delicious dreamy, spacey sound. It’s as if you’re floating, surrounding by ethereal, dubby harmonies and washes of elegant, understated synths. This is reminiscent of another of Scotland’s great bands, the Cocteau Twins. With synths, chiming guitars, dreamlike harmonies, Errors produce their own unique and eclectic 21st Century symphony.

Errors’ Pleasure Palaces proves to be a compelling place. It’s not the sort of place you come across often. Not when its soundtrack comes courtesy a combination of a grandiose organ, space-age synths the reverberate into the distance and pounding drums that sound as if they should belong on a house music track. You think Errors have gone down the wrong road. Not at all. The track soon starts to make sense. Floaty harmonies sweep in while the 4/4 beat is accompanied by banks of synths and hissing hi-hats. Full of subtleties, surprises and nuances, the result is a track that’s a hypnotic and anthemic mantra guaranteed to fill any dance-floor.

Surreal, dreamlike and mysterious describes The Knock as it meanders into the distance, drenched in reverb. Squelchy Kraftwerk influenced synths join slow spacey drums. Reverb and echo are added, and in slow-motion, the experimental arrangement reveals a sound that’s broody, dramatic and space-age. It’s like the soundtrack to a film that’s yet to be made. Celestial harmonies float in, providing a captivating contrast to the rest of this mysterious, innovative soundscape.

Canon picks up where The Knock left off. The understated, broody arrangement sees synths picking their way across the arrangement. It’s as if they’re trying to avoid traps that could prove to be their downfall. Sound effects add to the eeriness of the spacious, cinematic arrangement.

Earthscore sees washes of synths, a moody bass and rolls of dramatic drums combine before chanted, almost robotic vocals enter. They sit above the pulsating arrangement. Soon, the tempo increases and the arrangement grows. Again, there are Kraftwerk and Krautrock influences to the track. Here, however, Errors combine electronic and traditional instruments. Key to the song’s futuristic, anthemic sound are the chanted vocals, synths and James Hamilton’s drums which provide the track’s heartbeat.

Driving, chiming guitars open Cloud Chamber before synths enter. Veering between dark and crystalline, they’re joined by hypnotic drums and a futuristic vocal. It’s as if it’s bringing a mysterious, message from another galaxy, which is awaiting deciphered. Adding to the sci-fi sound are the synths and their old-school sound. Later, the arrangement becomes a flowing soundscape, as a chorus of futuristic voices unite with the synths and chiming guitars reaching an elegant crescendo.

Briefly, Barton Spring sounds like a song from another era. That’s before buzzing synths, pounding drums and searing guitars combine. They drive the arrangement along, while flourishes of crystalline keyboards provide a contrast. As for the vocal, it’s powerful and delivered in a slow, deliberate and dramatic style. This works well with the experimental, industrial and mechanical arrangement. Reminiscent of Jesus and The Mary Chain and Neu, walls of dark music unfold, reminding the listener of the industrial landscape that once dominated the landscape of Glasgow and Paisley, where the Errors come from.

Closing Have Some Faith In Magic is Holus-Bolus, where synths replicate the sound of sirens. Then it’s all change. The arrangement explodes into life. Banks of synths join the powerhouse that is Errors’ rhythm section. With James Hamilton’s thunderous drums at the heart of the actions, they’re a force to be reckoned with. Ethereal harmonies float in, providing an elegant contrast to the raw power of Error in full flight. Midway through the track, a curveball is thrown. The arrangement is pared back, to reveal just harmonies. After that, Error get into the tightest of grooves. Fusing indie rock, electronica and dance, the track reaches an explosive ending, drenched in feedback, as if paying homage to Jimi Hendrix.

Describing Errors fourth album Have Some Faith In Magic as comprising ten tracks, is almost an understatement. Have Some Faith In Magic is more like ten captivating, multilayered soundscapes. During these soundscapes, musical genres and influences unite and create something new, innovative and totally unique. Everything from indie rock, dub, jazz, electronica, prog rock, Acid House, dance and Krautrock is thrown into Errors’ musical mixing pot. Having given it a healthy stir, what comes out is a delicious musical stew. This musical stew is not just totally unique, but impossible to replicate. Captivating, enthralling, dramatic, moody, anthemic and emotive, Have Some Faith In Magic is all these things and much, much more. It’s not unlike a musical roller coaster that’s transformed into a voyage of discovery by Errors. This musical voyage of discovery introduces you to Errors’ unique brand of music. Quite simply, Errors’ have a monopoly on this particular genre of music. However, the music on Have Some Faith In Magic has essentially, taken six years to create.

Every single, E.P. and album Errors have recorded has been building up to Have Some Faith In Magic. This is the album that sees Errors become not just one of Scotland’s biggest bands, but a band with a worldwide following. That’s no surprise. During this six year period since the release of their debut album How Clean Is Your Acid House, their music has been constantly evolving. For Errors, standing still isn’t an option. If they do that, they risk becoming irrelevant. So, Errors are at the forefront of innovative music, constantly looking to move their music forward. That’s the difference between bands who are successful or not. The only exception are the Rolling Stones, whose sound has never changed in forty years. However, Errors will never become musical dinosaurs. Not at all. They’ll constantly be looking to release innovative, genre-sprawling music, music that influences and inspires a new generation of musicians. 

Recently, Have Some Faith In Magic which was released on Rock Action Records, has been recognized as one of the most important Scottish albums of 2012, when it found its way onto the long-list for 2012s Scottish Album Of The Year Award. Given how innovative, influential, eclectic and emotive Have Some Faith In Magic is, then Errors will be on the shortlist for 2012s Scottish Album Of The Year Award when it’s announced later today. Who knows? Maybe the judges will realize just how groundbreaking and unique Have Some Faith In Magic is and Errors will win the Scottish Album Of The Year Award? Standout Tracks: Tusk, The Knock, Canon and Earthscore.


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