New Relics sees the return of Glasgow three-piece Errors, mere months after the release of the well received Have Some Faith in Magic. A mini album in all but length (and number of songs for that matter), New Relics sees a more reflective and subdued band but one that still subscribes to the early 80s synth atmospherics of their previous work.“Engine Holmes” provides the album with a dramatic opener, a instrumental piece featuring a multitude of stabbing synth sounds leading into “Ammaboa Glass” which to these ears is reminiscent of Tin Drum era Japan, with its compressed drum sound and oriental stylings. Indeed, Have Some Faith in Magic seemed at times to evoke the spirit of “Gentlemen Take Polaroids” era Japan but hopefully they won’t be also aping the same chronology (Japan split up after Tin Drum...) Title track “Relics” utilises spectral female vocals to good effect, employed Cocteau Twins-style with a backing of funereal proportions; “Grangehaven” again evokes David Sylvian’s troupe with an obvious eastern influence on show and continuing with the whole 80s dark synth vibe, “Hemlock” fuses Black Celebration era Depeche Mode with added splashes of sequencer.Continuing with the glitchy instrumental interlude of “Gros-Bron-Ange”, the album’s penultimate song “White Infinity” could simply be described as “big”, a synth epic which shares much with M83 at their most euphoric. In many respects the calm after the storm, New Relics ends with “Pegasus”, a return to the glacial calm of much of the album, a slow burn of a song which benefits from Robin Guthrie-esque reverb laden guitar strokes.New Relics is undoubtedly in the thrall of many bands of the early 80s – Japan, Cocteau Twins and even elements of early Simple Minds are prevalent throughout the album. However, this is not to say that the album is simply a facsimile of previous work. As shown with their previous album and clearly with this, Errors take from the past but they are also able to reshape this into a stunningly effective whole.