Eighteen months on from the afrobeat-inspired robotic disco of ‘Come Down With Me,’ Errors return with their third full length album ‘Have Some Faith In Magic’ on Rock Action records - an album that once and for all dismisses the overly regurgitated “post-rock” tag. It’s their firmest move yet towards something that over the past few years the Glaswegian four-piece has always hinted at: Errors have just gone and made a pop record.

“We've always had a pretty good sense of melody,” comments the group’s Steev Livingstone, “in the past the lack of vocals have meant that we always felt the need for instrumental ‘hooks’ so that the listener and indeed ourselves had something to hang on to.”

That use of melody has now become explicit thanks to the prominent use of vocals on the record – a first for the group, and something hinted at on Spring’s preview single ‘Magna Encarta.’ “We intended the vocals to be used as another instrument,” explains Livingstone, “we’ve used them in a way that sits really naturally, maybe some of the melodies we used to play on guitar have moved onto vocal and that gives the album something very recognisably human.” For an example of the free MP3 download track ‘Earthscore,’ where indecipherable phrases and utterances are weaved into the faded day-glo disco so that their phonetic tones fall comfortably into the slipstream of the music.

Though Livingstone describes it modestly, ask many musicians and they’ll tell you that it’s pop that’s often the most difficult to master. Think of the volume of music that simply passes you by and it’s clear that having the wherewithal to transfuse a hook into the collective ear is a lot harder to do than offer up something that won’t. On ‘Have Some Faith In Magic,’ though, Errors have excelled in offering something simultaneously intelligent that also brims with memorable little patterns of sound, a record that brings a myriad of intricacies together to provide an impulse invading whole.

It being Errors of course, nothing quite comes through the same spectrum; the album was inspired by everything from French synth-pop of the 1970s and 80s, to German Cosmiche (in particular Tangerine Dream and Wolfgang Riechmann). Livingstone meanwhile points to the sprawling apparatus that makes up third track ‘Blank Media’ as being Cocteau Twins influenced. Additionally, in preparation for DJ sets at their monthly Glasgow club night Black Tent, they’ve been catching up with on a wealth of new underground dance-floor filling sounds.

Beyond the music though, one event was key in how the album came out; “through the recording process the roof of our studio caved in!” exclaims Steev, “and that has probably influenced the outcome of this record as any of the music we were listening to at the time was.” The band were forced to change their methods, from playing together at the studio to decamping to the group’s guitarist and programmer Simon Ward’s house. Often they’d all sit in separate rooms working on different songs, only coming together to analyse the results and determine new directions. It says much of Errors technical talent that such an immediate and radio-ready LP has come from such a cognitive way of working.

The group’s contrast between calculated risk and pure honesty goes beyond their music. Livingstone has a strong passion for hill walking, one of the tracks ‘The Knock’ was named after a hill he’d climbed and another ‘Pleasure Palaces’ almost had the same fate after he surmounted Ben Vane near Loch Lomond. Is it too far to suggest that such earthy pursuits have bled through into what feels Errors most human record yet?

Semblance’s of their past existence do survive; the very clearly guitar-led sections of opener ‘Tusk,’ the short, cutting incisions of those same six-strings here and there through the dance-floor friendly ‘Pleasure Palaces.’ Yet these are now pale elements in an album that’s newly bright in colour, arresting in allure and bold in its intent. “’Never looking back, always looking forward’ became my mantra for this record,’” admits Livingstone; in ‘Have Some Faith In Magic’s’ playful synth lines and soft template grooves lies the explicit proof of that theory put into practise. Errors have put their faith in magic and come back with glorious results; it won’t take such a great leap in faith for you to become immersed in this album.