Errors: Have Some Faith In Magic

Synth-heavy experimentation results in an album of a beautiful collection of musical soundscapes.


Have Some Faith in Magic

Label: Rock Action
US Release date: 2012-01-31
UK Release date: 2012-01-30

There was once a belief that, at some point in the future, there'll be no songs left to write. Both sceptics and theorists believed that, at some point around the end of the 20th century (for it was the sceptics and theorists of the 1970s that believed this), we’ll simply run out of new songs. This is a somewhat bizarre idea, considering that despite there only being a limited number of chords, and, thusly, a limited number of chord sequence combinations available, music and music composition has been with us for hundreds of years – and has shown no signs of ceasing to evolve. Which brings us on to Errors. Back in the 1970s, Kraftwerk – maybe aware that music was coming to an imminent, creative terminus, began using recently-invented sythensisers and computers to write and make music. It was a turning point for music – and here we are, 30-odd years down the line, and Errors are doing the same thing – and continuing to break ground.

Have Some Faith In Magic, their third long-player, is a melting pot of ideas, developments and experimentation that actually comes off sounding more measured, more accomplished – and ultimately much more listenable – than either of their previous efforts. It's found that mid-way point between indulgent perfectionism and euphoric-pop sensibilities. Repetitive synth and guitar lines, echoed, minimal vocals and computer-generated trickery in abundance, it's a neon sign that points to bright, future places for music. That's not to say it's without its musical lynchpins from the not-too-distant past. After the bad 1980s film theme-aping (honestly, that's not actually a bad thing) of opener “Tusk”, “Blank Media” is the stuff of New Romantics gone cyber-synth with chillwave-levels of reflectiveness. There's “Cloud Wave”, which echoes Metronomy but with added guitars and moody Ninetendo-style bleeps and chugs. And then there's “Magna Encarta”'s debt to Mogwai. Ah yes, Mogwai. Errors' label bosses and fellow furrowers of forward-looking musical experimentation, their influence is actually all over Have Some Faith In Magic; Errors, however, have taken the blueprint laid out over the last 15 years by Mogwai, moulded it, played around with it, and finally melted it down it something more delicate, more lush, more – dare we say – tuneful.

And that's what makes Have Some Faith In Magic a winner. Yes, there's experimentation, yes, it takes some listening to, but once those melodies start making sense in your head, boy does this album become one to stick with. It does have its weak points – “Pleasure Palaces”' heavy synth-encrusted dance beat undoes the groundwork of opening trio “Tusk”, “Magna Encarta” and “Blank Media” slightly – but overall, Errors have created a suite of beautiful soundscapes that shows they've upped their game from their previous work. So – no songs left to write? Well, it's taken three albums for Errors to perfect their sound. Have Some Faith In Magic hints that there's much more exciting stuff to come, from not only the progression of music, but from Errors.







Greta Gerwig's Adaptation of Loneliness in Louisa May Alcott's 'Little Women'

Greta Gerwig's film adaptation of Louisa May Alcott's classic novel Little Women strays from the dominating theme of existential loneliness.


The Band's Discontented Third LP, 1970's 'Stage Fright', Represented a World Braving Calamity

Released 50 years ago this month, the Band's Stage Fright remains a marker of cultural unrest not yet remedied.


Natalie Schlabs Starts Living the Lifetime Dream With "That Early Love" (premiere + interview)

Unleashing the power of love with a new single and music video premiere, Natalie Schlabs is hoping to spread the word while letting her striking voice be heard ahead of Don't Look Too Close, the full-length album she will release in October.


Rufus Wainwright Makes a Welcome Return to Pop with 'Unfollow the Rules'

Rufus Wainwright has done Judy Garland, Shakespeare, and opera, so now it's time for Rufus to rediscover Rufus on Unfollow the Rules.


Jazz's Denny Zeitlin and Trio Get Adventurous on 'Live at Mezzrow'

West Coast pianist Denny Zeitlin creates a classic and adventurous live set with his long-standing trio featuring Buster Williams and Matt Wilson on Live at Mezzrow.


The Inescapable Violence in Netflix's I'm No Longer Here (Ya no estoy aqui)

Fernando Frías de la Parra's I'm No Longer Here (Ya no estoy aqui) is part of a growing body of Latin American social realist films that show how creativity can serve a means of survival in tough circumstances.


Arlo McKinley's Confessional Country/Folk Is Superb on 'Die Midwestern'

Country/folk singer-songwriter Arlo McKinley's debut Die Midwestern marries painful honesty with solid melodies and strong arrangements.


Viserra Combine Guitar Heroics and Female Vocals on 'Siren Star'

If you ever thought 2000s hard rock needed more guitar leads and solos, Viserra have you covered with Siren Star.


Ryan Hamilton & The Harlequin Ghosts Honor Their Favorite Songs With "Oh No" (premiere)

Ryan Hamilton's "Oh No" features guest vocals from Kay Hanley of Letters to Cleo, and appears on Nowhere to Go But Everywhere out 18 September.


Songwriter Shelly Peiken Revisits "Bitch" for '2.0' Album (premiere)

A monster hit for Meredith Brooks in the late 1990s, "Bitch" gets a new lease on life from its co-creator, Shelly Peiken. "It's a bit moodier than the original but it touts the same universal message," she says.


Leila Sunier Delivers Stunning Preface to New EP via "Sober/Without" (premiere)

With influences ranging from Angel Olsen to Joni Mitchell and Perfume Genius, Leila Sunier demonstrates her compositional prowess on the new single, "Sober/Without".


Speed the Plough Members Team with Mayssa Jallad for "Rush Hour" (premiere)

Caught in a pandemic, Speed the Plough's Baumgartners turned to a faraway musical friend for a collaboration on "Rush Hour" that speaks to the strife and circumstance of our time.


Great Peacock Stares Down Mortality With "High Wind" (premiere + interview)

Southern rock's Great Peacock offer up a tune that vocalist Andrew Nelson says encompasses their upcoming LP's themes. "You are going to die one day. You can't stop the negative things life throws at you from happening. But, you can make the most of it."


The 80 Best Albums of 2015

Travel back five years ago when the release calendar was rife with stellar albums. 2015 offered such an embarrassment of musical riches, that we selected 80 albums as best of the year.


Buridan's Ass and the Problem of Free Will in John Sturges' 'The Great Escape'

Escape in John Sturge's The Great Escape is a tactical mission, a way to remain in the war despite having been taken out of it. Free Will is complicated.


The Redemption of Elton John's 'Blue Moves'

Once reviled as bloated and pretentious, Elton John's 1976 album Blue Moves, is one of his masterpieces, argues author Matthew Restall in the latest installment of the 33 1/3 series.


Whitney Take a Master Class on 'Candid'

Although covers albums are usually signs of trouble, Whitney's Candid is a surprisingly inspired release, with a song selection that's eclectic and often obscure.


King Buzzo Continues His Reign with 'Gift of Sacrifice'

King Buzzo's collaboration with Mr. Bungle/Fantômas bassist Trevor Dunn expands the sound of Buzz Osborne's solo oeuvre on Gift of Sacrifice.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.