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Come Down With Me has solidified the band as their own entity; it has forged all of the disparate pieces of the past into something evergreen. There is no inclination to pander to any preconceptions of yore and this has now, undoubtedly, made Errors the force they always threatened to be.
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Glasgow’s finest nerdtronica--in the sense they’re slavishly dedicated to unveiling ever-intricate ways to make us shake a leg – quartet have returned with a second album that takes the charm of their debut and cranks up the rave factor.
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Come Down With Me marries synth-prog stuff with guitar-driven indie rock in a way that comes across as equally smart and approachable. The achieved effect is something to behold.
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Q MagazineThe resultant upgrade sounds like a ZX Spectrum wired to a jack hammer. Add the occasional pause for breath--as on the glacial "The Erskine Bridge"-- and Come Down With Me is a thrilling invitation. [Mar 2100, p.101]
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Come Down With Me, while never plumbing peculiarly clichéd depths of introspective immersion, does stall its rapid step on occasion to allow both actors and audience a little breather.
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The band’s expertly realized fusion of organic and electronic instruments remains, bolstered by their extensive tour diary that’s also seen them open for Underworld.
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They’re still doing it better than anyone else; ravier than Foals, more fun than Fuck Buttons, flexing more post-hardcore muscle than Metronomy. It’s just that we kind of hoped they might surprise us again. That said, if they’re not pushing any new envelopes, Come Down With Me is still satisfying on its own terms.
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On Come Down with Me, it’s clear that Errors have learned the lessons of their genre-defining big brothers well, creating bold instrumental music that leaves enough room for nuance and conveys a tinge of dark humor without needing any words.
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UncutCome Down With Me seems slightly out of step in 2010, harking back to a time at the turn of the millennium where Tortoise and Tarwater were still the names to drop, but you can nonetheless appreciate its glistening geometry. [Mar 2010, p.84]