Spinn Album Review: Oh My God… I’m So Alone

Mastering infectious indiepop, Spinn’s newest album, Oh My God… I’m So Alone, mixes DIY sounds with purposeful guitar-riffs and heart-ripping lyricism. The 3-piece’s previous two albums ‘SPINN’ and ‘Outside Of The Blue’ were packed with those same impactful guitar-riffs but the similarities end there. 2024 sees the group experimenting more with psychedelic as well as downbeat tracks tackling love and general life struggles.

opening the album is ‘I’m in Hell,’ a song with a theme that continues across the album. Breezy guitar opens the track alongside vocals with a contrasting, darker tone. “It seems so clear to me that I’m in hell” repeats singer Jonathon Quinn followed by a burst of ecstatic guitar and rhythmic drums. The specific way the group connects upbeat music with bleaker themes in the lyrics is similar to bands like The 1975.

With talent, Spinn intertwine bluesey riffs into a modern track on ‘Alone.’ Starting with a summery flair, the track proceeds slowly until nearing the end when Louis O’Reily’s pounding drums find the spotlight with Sean McLachlan’s underlying bass. Quinn’s now choppy vocals, bounce above the drums.

Switching up the album, track three ‘Enduring Love’ is haunting with loud, melancholy guitar from the beginning. Quinn’s vocals are not only downbeat but emotional making it obvious how authentic the lyrics are. It’s difficult to distinguish if the song is more sad or angry with intense bass and violent guitar especially in the final guitar solo where the group seem to be putting all their distressed feelings into their music. ‘Song For Reiko’ pulls the album in the opposite direction, removing the anger but pushing hurt to the centre of attention. “I’m Drowning” Quinn gently sings on desolate guitar while a ghostly woman’s voice faintly hums in the background, sounding lonely.

An alluring halfway point, ‘No One Else Could Ever Know’ showcases the faint women’s voice once more, singing quietly behind Quinn on the chorus. Seeming like a lost love singing along, they look back on sharing secrets and smiling but from an unrecovered, heartbroken point of view. Eventhough they are re-visiting happy memories, the song is sorrowful with sharp bass and echoing voices towards the end.

Entering the second half of the album, Spinn speed up the pace with ‘On & On.’ The heart-racing “On and on and on and on and on” of the chorus is striking leaving you feeling the sinking dread of overthinking. For a moment the music fades and all you hear is the potent “on and on” until Quinns voice disappears and the music intensifies again. Continuing the accelerated pace, ‘I Would Call You But (But I Never Know What To Say), is a sudden ray of sunshine. Although it still has a slight focus on overthinking love, the toe-tapping, floaty guitar makes it calmer. The uplifting song looks at the feeling of falling in love and is well-placed in the album.

Acoustic guitar opens ‘Alfie,’ a simple track reminding me of something from the 2000’s charts. The post-chorus psychedelic riffs entrance you, making the song unique. The ending transitions flawlessly into ‘Shakshuka’ a definite standout track. Across the album multiple genres are experimented with, this song is infused with dance music. The intro has pointy, small riffs with Quinns usual deep vocals. Throughout the track the funky electronic bass riffs continue getting any listeners itchy to jive.

Finally, ‘Slinky’s’ joyous guitar and careful drums give a taste of how the album will finish. Similar to ‘Favourite’ by Fontaines D.C, after an intense album, Spinn fill listeners with hope in the blissful track. Quinn belts lyrics In a smooth tone but it still leaks meaning. Bleeding power, he is singing from his soul, emphasising each word. Compelling riffs wind between the lyrics before the even-slower verse where Quinns ethereal voice closes the album.