One of the most cutting edge, and refreshingly fun releases of the year finally arrives on our shelves – we’ve been loving this record for all it’s dancefloor frenzy and razor sharp sound design.

We doubt you’ll hear another LP like this – it’s totally bonkers, and bridges the gap between acute club styles and tongue-in-cheek attitude with total ease. The first thing you’ll notice is the sparkling, immaculate production – everything you hear feels utterly deliberate in its design and relation to the broader structure. Where this approach can have the effect of alienating listeners, Errorsmith uses it to emphasise the self-deprecating features of the music. Everything is constructed using a synth he designed himself – an additive synthesiser which can produce results totally unique from your run-of-the mill one. That pretty much defines the sound of the record and gives it that crystalline sound.

Stylistically, Errorsmith pushes for a sound somewhere between Techno, Electro, UK Funky and Dancehall – the rhythms step with a syncopated pulse while remaining, broadly speaking, around techno tempos. You’ll immediately recognise these ones in the dance, and hear them in the dance you will; totally fresh club records like this end up becoming a mainstay in the bags of your favourite selectors for years after they come through.

While we fully endorse listening to the LP in its entirety, our favourite cuts come towards the beginning and end. The amicably titled ‘I’m Interesting, Cheerful and Sociable’ is the designated dancefloor anthem, little more than a frantic rhythm section and a restless, constantly warping synth that suggests soca, UK funky and detroit electro all at the same time while still sounding categorically unique. At the opposite end we have Retired Low Level Internal Server, a dancehall cut that’s reminiscent of that Still LP also on Pan, which we had on the shop not too long ago.

This should go down as one of the most memorable albums of this year – it’s unique, ingenious and a perfect reintroduction to the virtuosity of Errorsmith after that 13 year hiatus (not counting his side projects in VST & Synth modelling design and his contributions to the excellent MMM of course).

Vivacious sleeve design too, PAN doing it right once again.
This one is a standout record in all it’s aspects.

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