For some bands, the creative process has a definitive start and stop point around each release; for Errors, that vein of invention and construction is constant, the sense being that even as they re putting something out, they re already thinking and moving towards the next set of ideas. So it proves with New Relics; the comprising eight tracks undeniably share a kinship with Have Some Faith In Magic, yet feel, even in the short time that s elapsed since that release, a progression. New Relics takes the kaleidoscopic pop sounds of their previous material and removes them from the gridlines of motorik and kosmische touchstones of their past, creating a resultantly looser, less rhythm-driven sound. When we started talking about making this record we wanted to have a slightly different approach compared with previous albums explains the band s Steev Livingstone. We were keen to try out some tunes with less structure to them.
Much of the album is mixed with synth sounds both contemporary and retrospective; from 21st century trans-Atlantic electronica to the stepladder arpeggios of early 90s house, to earlier analogue magicians like Jean-Michel Jarre, and going even further back to pioneering electronic composers like Karl Stockhausen, Errors are really beginning to stretch out. Then there s songs like White Infinity , which Steev attributes to listening to a lot of Slowdive and Ride, although , he jokes at one point it was sounding a bit like the Brookside theme tune .
Ultimately, New Relics is a release without pressure attached to it, a still frame of Errors current creative state, put out simply because the consistently high standard they now operate at demands it see the light of day. One day the Glawegians will physically become part of the past like the rest of us; the music they leave behind, however, looks set to remain timeless for years to come.