Since getting hold of Errors' new album, Come Down With Me, it hasn't left my computer. It has occupied my iTunes non-stop, even more than their debut, It's Not Something But It Is Like Whatever. Their recent effort is more of a collage of sounds than their first, and in the two years since their debut, this Glaswegian quartet have seemingly turned into a cinematic beast.
The buzzy pitch of Come Down With Me references the creepy electro expanse of a Michael Mann music score, Tangerine Dream (Thief and the Keep), and the Reds (Manhunter). Within their drone, Errors capture the atmospheric thrill of an 80s movie (and no wonder, when you consider how much of Errors' back catalogue is repeatedly featured on TV).
The single Rumour in Africa has the motorik drive of Neu! and resembles like the Toto soundtrack to David Lynch's Dune. Come Down With Me exposes what Errors do well, which is to play with images and sounds. The band move quickly through genres, whether it be the blissful beats of Bridge or Cloud, or the dense soundscapes of Germany. It is a concise and clear statement of intent to beautifully bewilder the listener.
However, Errors are far more than soundtrack artists to the imaginary films in your head. The band's aesthetic is a good example of the internet's influence on musicians. If you wanted to know what music the web would make, it would be Come Down With Me, as it conveys the frazzled feeling of cultural overload. As Errors' career progresses, it is funny to watch journalists attempt to tag the untaggable: post-electro, post-post-rock, math-rock, glitch-rock, steam-punk. Basically, Errors sound as if HAL from 2001: A Space Odyssey joined a rock band with astronaut Dave, rather than trying to kill everyone.
The style that Errors explored on their fantastic 2006 EP How Clean Is Your Acid House? is now everywhere. It's inescapable. Whether it be the warped, damaged Neon Indian of Should Have Taken Acid With You, or duo Teengirl Fantasy re-imagining Stock, Aitken and Waterman hits. But when other musicians mention influences, it often comes off as pastiche; a ripped-off chord here, a melody lifted there. With Errors, however, the influences merge into something futuristic. It is the sound of a new decade.
Reproduced by Kind Permission of Alan McGee and The Guardian