‘New Relics’ is a swift follow-up to Errors‘ rather excellent ‘Have Some Faith In Magic’ album, released in March this year. Whilst badged as a ‘mini-album’, ‘New Relics’ is actually in excess of half an hour of new music, and builds on the momentum of ‘Have Some Faith In Magic’ to offer eight intriguing new tracks. Possibly in homage to the 80s influences which abound throughout this release, the band have also released a limited VHS video tape as an accompaniment, with videos for each of the eight tracks created by a different visual artist.
Given the short time which has passed since ‘Have Some Faith In Magic’s release, Errors could easily have treaded water with this record, however this was clearly never on the band’s agenda: ‘New Relics’ naturally develops and expands the sounds of ‘Have Some Faith In Magic’, reflecting the greater prominence now given to vocals in the band’s music, but this time around frequently immersing them in dreamy, bubbly synths. The post-rock undercurrents remain, but are firmly kept behind a sheen of the best of 80s indie – New Order, Cocteau Twins, and many other influences are detectable throughout. The tempo is generally low, and it seems that the frantic energy and Battles-esque drumming which characterised much of Errors‘ earlier sound is gradually being left behind.
Perseverance reveals a number of delights with ‘New Relics’, and it’s the more ambient-leaning soundscapes which work particularly well – ‘Hemlock’ is New Order meets Jean-Michel Jarre, complete with an aloof vocal sample which drifts in and out of the mix. The 80s gloss which washes over the track is glorious, and is such that as an instrumental, ‘Hemlock’ wouldn’t sound out of place on an Italians Do It Better compilation or the ‘Drive’ soundtrack.
‘White Infinity’ meanwhile is the closest which Errors come to a traditional ‘song’ structure, a dense, euphoric song complete with some Tears for Fears-esque vocals which builds to a fantastic climax. It’s one of a number of highlights which only really begin to reveal themselves after repeated listens. Closing track ‘Pegasus’ takes a further different direction, channeling the more ambient elements of early M83, until a spiky house beat kicks in midway through.
Not everything quite works, and the cohesiveness of the record comes a little unstuck at times. Second track ‘Ammaboa Glass’ for example comes across as a distant cousin to ‘Come Down With Me’-era Errors: no bad thing per se (‘Come Down With Me’ is a momentous album), but it feels out of sync with the sound of much of the rest of the album, as if the band were a little unsure of a clear direction to take.
So Errors have mellowed out and developed a love for 80s synths. It’s an interesting progression in their sound, which feels perfectly natural, and is for the most part highly enjoyable. As a companion piece to this year’s album, it works well. As a teaser for where Errors go next, it intrigues greatly.
Released October 8th on Rock Action.
Posted by Adam Bunn.
