If ever a band was to live up to their name then it would surely be Birmingham’s very own spincycle. There’s a cyclical nature to their sound, a repetitive battering ram to knock down the wall of your cranium (but in the nicest possible way, of course) and they’re not going away until you open up. The result is very mesmerising and spincycle soon cast their spell over the venue and before long the whole crowd are swaying in unison like a bunch of hypnotised chickens. The band largely forsake conventional vocals in favour of some choice samples and that makes for a more atmospheric experience.
With a drummer who often plays standing upright, a powerful sound is achieved and, like a punky version of Kraftwerk, they’re powered forwards by a motorik beat, but they have a sound that incorporates elements of surf, psych and drone, and these disparate influences are swirled together into a lovely psychedelic soup. The result is a sound that’s pleasantly hard to categorise, but that’s exactly how good music should be. You can draw a correlation with other second-city bands such as Black Sabbath and Godflesh insofar as spincycle create a sound so vast and expansive it can barely be comprehended. It’s music born from living amongst brutalism and other forms of architectural terrorism, and I rather like it.
Having played the legendary 10,000-capacity Nippon Budokan venue in 2021, tonight’s intimate show at Birmingham’s Victoria venue offers a rare chance to get up close and personal with Ayano Kaneko. Therefore, there’s a good-sized crowd awaiting Ayano’s appearance and their electrified chatter crackles the air and creates a sense of excitement.
When Ayano finally appears she’s attired in a nightdress as if awakened from slumber, yet if there are any somnambulists present they’re in for a rude awakening as Ayano proceeds to deliver a rather nifty jangly indie sound that’s really quite addictive. Having performed solo and with a full band, tonight finds Ayano with the latter and they conspire to raise the already stifling temperature a few degrees. There’s an easy chemistry between the performers which verges on telepathy and they often play facing each other, egging themselves towards greater intensity.
The guitar playing throughout is exceptional, and the interplay between the two instruments is often spellbinding and that found on Sabishikunai is simply awe-inspiring and the motif which forms the song’s centrepiece haunts the listener long after it is finished. The rhythm section provides a strong backbone with shirtless drummer Hikari delivering a sweat-soaked performance and he seems intent on pulverising his kit to dust, making each beat count and delivering it with force. The result is a well-received set with the band’s commitment and authenticity shining through, so much so that an encore is demanded, and the band are happy to oblige, treating us to a spirited run-through of Ai no Mama Wo which ensures that no one leaves disappointed.
Photos by: Wonderlens/Jim Grant
