Magic's Faith: Believe In The Unseen

Have Some Faith in Magic is the third album by the Scottish electro-indie band Errors. It was released in 2012 and marked a shift from their previous post-rock sound to a more pop-oriented style, with increased use of vocals and synth-heavy instrumentation. The album received positive reviews for its organic sound, intricate melodies, and blend of electronic and rock elements.

Errors' third album

The album blends experimental and pop sensibilities, featuring repetitive synth and guitar lines, echoed minimal vocals, and computer-generated effects. It explores new directions for the band, with nods to the '80s synth-pop scene and a newfound interest in vocals, which remain distant and largely unintelligible. The vocals lend a more melodic edge to tracks like the Depeche Mode-esque "Blank Media" and the cosmic pop of "Magna Encarta".

The band's off-kilter tendencies are still evident, with tracks like the haunting, chant-filled "Earthscore", the industrial electro of "Barton Spring", and the woozy prog opener "Tusk". "Pleasure Palaces" takes a step towards the dance floor with four-to-the-floor beats, while "The Knock" ventures into chillout territory with blissful, bleep-laden electronica.

Have Some Faith in Magic received positive reviews, with critics praising its blend of experimentation and listenability. It was described as a "suite of beautiful soundscapes" and a "winner", showcasing the band's progression and hinting at more exciting music to come.

The role of vocals

Errors' Steev Livingstone has commented on the intention behind the vocal usage, stating, "we intended the vocals to be used as another instrument." This approach is reflected in the execution, where the vocals blend seamlessly with the synthetic backdrops, adding depth and subtlety without becoming a distraction.

Livingstone's affected and woozy tones contribute to the overall atmosphere of the album. His vocals are deployed as hymnal incantations, enhancing the entrancing and cosmic qualities of tracks like 'Magna Encarta' and 'Cloud Chambers.' The vocals are deployed with purpose and intent, adding depth and complementing the synthetic soundscapes.

The increased vocal presence also serves a functional purpose within the album's dynamic. The vocal aspects, including looping and processing, introduce a human element that contrasts with the synthetic backdrops. This contrast adds complexity and showcases the band's progression and maturity in their sound.

Overall, the vocals in "Have Some Faith in Magic" play a pivotal role in the album's success. They strike a delicate balance between depth and accessibility, contributing to the album's organic nature while maintaining a tight directional focus. The vocal performances enhance the listening experience, making the album a brilliant and captivating work of art.

Pop vs post-rock

Errors' third album, "Have Some Faith in Magic", marks a shift from their previous "post-rock" label to a more pop-oriented sound. This evolution in their music has sparked discussions about the differences between pop and post-rock, and how Errors have navigated these distinct genres.

Pop music, as exemplified by Errors' new album, typically prioritises vocals and catchy melodies that resonate with listeners. Pop fans often seek songs with memorable hooks and relatable themes like love, sex, and dancing. Vocals become a crucial instrument for delivering these themes and engaging the audience. In contrast, post-rock often downplays or even omits vocals, treating them as just another instrument in the composition. This distinction is evident in Errors' earlier works, where vocals were less prominent.

The production and arrangement of pop songs also differ from those of post-rock. Pop music tends to be more accessible and easily digestible, with clear structures and familiar sounds that cater to a wider audience. Post-rock, on the other hand, can be more experimental and instrumental, focusing on creating atmospheric soundscapes and exploring less conventional musical territories.

However, the lines between pop and post-rock can blur, as demonstrated by Errors' ability to incorporate elements of both genres in "Have Some Faith in Magic". The album features catchy pop melodies and vocal hooks while retaining some of the electronic and guitar-driven elements characteristic of their previous post-rock sound. Tracks like "Tusk" and "Magna Carta" showcase this blend, combining pop sensibilities with the band's unique style.

Ultimately, the debate between pop and post-rock is not just about labels but also about artistic expression and audience engagement. Pop music aims to connect with a broad audience through familiar and catchy elements, while post-rock explores more esoteric and atmospheric territories. Errors' journey from post-rock to pop illustrates the fluid nature of musical genres and the band's willingness to experiment and evolve their sound.

The band's progression

The Glaswegian band Errors' third album, "Have Some Faith in Magic", marked a shift from their previous "post-rock" label to a more pop-oriented sound. This evolution saw the band incorporate vocals more prominently, creating catchy and memorable hooks that invited listeners to sing along.

The album opener, 'Tusk', sets the tone with its combination of shimmering guitars and dazzling synth spirals, evoking the image of eagles flying over mountain castles of glitter and Perspex. This is followed by 'Magna Carta', which sheds the existential gloom of their previous work, embracing a more upbeat and celebratory tone.

The heart of the album slows things down, with gentle, Balearic rhythms and airy tracks like 'Barton Spring' and 'Blank Media' showcasing a more elegant, scholarly side to the band. Despite this shift, Errors retain their signature blend of sci-fi electronics, rock drums, guitars, and distant, processed vocals.

"Have Some Faith in Magic" demonstrates Errors' commitment to progression and evolution, unafraid to take chances and move beyond their previous sound. The result is an organic, controlled, and brilliant album that cements their place in the UK's music scene.

The magic of control

Control is a double-edged sword. Wielded irresponsibly, it can be a destructive force, leading to totalitarianism and self-importance. However, even when exercised with good intentions, control can stifle creativity and hinder progress. This dichotomy of control is reflected in the world of music, where the mainstream music industry has often been criticised for its resistance to change and innovation.

Errors' album, "Have Some Faith in Magic", challenges this notion of control in music. The band embraces progression and refuses to be constrained by the boundaries of any single genre. Their music traverses the realms of post-rock, pop, and electro, defying easy categorisation. This freedom to explore and experiment is a testament to their artistic control.

The album opener, "Tusk", exemplifies this controlled chaos. It begins with a growling guitar riff before exploding into a synth-laden apogee, showcasing the band's ability to seamlessly blend disparate elements. Throughout the album, Errors masterfully manipulate layers of drums and synths, creating intricate and complex melodies that defy expectations.

While the band demonstrates remarkable control over their musical arrangements, they also understand the importance of letting go. The increased vocal contributions of Stephen Livingstone add depth and focus to the album. His woozy, affected tones complement the cosmic soundscapes of "Magna Encarta" and "Cloud Chambers", enhancing the overall atmosphere without becoming a distraction.

"Have Some Faith in Magic" is a testament to Errors' mastery of their craft. By embracing progression and defying easy categorisation, they have created an organic and dynamic album that feels utterly controlled yet unrestrained. It is a delicate balance that showcases the true magic that can be achieved when control is wielded responsibly.

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