Electronic four piece Errors are set to release their third full length album on Mogwai’s Rock Action Records, after stirring much attention in the UK over the last few years with consistent releases and stellar live shows which have generated a larger fan base and garnered international attention.

Have Some Faith in Magic opens big. It opens big like a prog rock album of the very early 80s. But this is no way an imitation, or after-the-fact band drowning in their influences. Nor are they a retread of their contemporaries such as Battles or Mogwai, etc. The opening track “Tusk” firmly sets the tone with shape shifting keyboards and dramatic flux of sound that is self-contained. “Magna Encarta” was originally released as a 7’’ upon their performance at SXSW last year. It has the makings of a powerful ballad (though faster) in that it carries emotion sans lyrics or guitar solos. The coordination between drums and keyboards evoke this emotion; the tightness of melody keeps it interesting.

On “Blank Media,” the band mellows a bit with wispy lyrical content and a cloud-like groove, holding strong to a composition consistent with the thematic tone. And that’s when “Pleasure Palaces” melts in. The first sure fire dance track, “Pleasure Palaces” may be the best tune on the album. While a wash of synthesizers, an echo of vocals, and several effects bouncing in unison are the formula for most of these songs, it is best demonstrated here.

It can be argued that the most appealing factor for electronic, albums that are mostly instrumental is that they’re prone to abstract interpretation. Each listener will take from it of their own perception. Have Some Faith In Magic is nearly a “choose your own adventure” album with it’s cinematic sounds. Especially a track such as “The Knock,” spiraling in an out of mildly ambient action scenes and melodies that reverse on themselves, one can feel as if on a journey. Same with the climactic beat of “Earthcore.” Enter some jungle-ish percussion, something similar to Gregorian chant, and needling effects, and Errors flourishes without exceeding the limitations they set out with the opening of the album.

It’s unclear whether or not a strong bass on any of these tracks would help or hurt the composition of this piece. It isn’t necessarily missed, and with the large scope of sound, it may be too much. It’s only because Errors budgets their instrumentation so well that the question is begged. Also, they could probably tone down the 80s synth sound a bit. It pops up on nearly every song, as if something were missing, and this is their go to sound. However, this is a great album, another that kind of wants it’s listeners to hear it live. The emotion it evokes is what will keep it in rotation.