Album: New Relics
Errors’ New Relics is an album that is heavily indebted to the sound of the ‘80s, which could be indicative of an indie landscape currently consumed by nostalgia. As so many other indie darlings have mined the music of the ‘70s and the ‘90s for inspiration, Errors have derived their own interpretation from the left field sounds of ‘80s pop.
Blurred, washed-out female vocals are set atop thick waves of synth on tracks like ‘Relics’ and ‘White Infinity’, which recall the heavily textured work of dream-pop luminaries the Cocteau Twins, whose lush sound reverberates throughout New Relics. ‘White Infinity’ is possibly the highlight of the album, building from solitary keyboard stabs and stuttering drums into a gorgeous soundscape of swooping vocals and elegiac guitar lines.
The steady, relaxed pace of the songs creates a cinematic, melancholic feel to the music and lets the carefully constructed melodies breathe. Since most of the tracks here are almost identical in both construction and instrumentation, it is a testament to Errors’ skills as songwriters that the music rarely becomes monotonous.
The real weak points of the album are the listless, burbling synth led instrumentals ‘Engine Homes’ and ‘Gros-Bon-Age’. ‘Hemlock’ is also a rather meandering affair that unsuccessfully sacrifices melody for texture.
Despite these mishaps however, the absorbing, beautifully produced world of the title track‘New Relics’ rewards repeated listens, while the album as a whole offers a sound that is thoroughly different and often deeply affecting.
In a Nutshell: Derivative, albeit frequently excellent synth-pop.
By Jack McGarry