The Liverpudlian indie-pop band share their second album.

★★★★☆

Indie four-piece SPINN have been a popular attraction on the Liverpool indie scene and beyond for some time now, gaining attention with their first few singles, before solidifying their place in the music world with the release of their self-titled debut album in 2019. 

A few years (and a global pandemic) later, the group have re-surfaced with Outside Of The Blue, a record that builds on the band’s beloved sound; offering listeners something slightly different from their debut. The incorporation of a more shoegaze-inspired style and plenty of bright, jangly guitars, results in a blissful collection of three-and-a-half-minute bursts of beaming indie-pop.

The tranquillity of the opening track Hello just radiates sunshine and makes for a perfect intro to the album, setting the tone for the dreamy, calming sounds which continue throughout the record.

Daydreaming, Sweet Like Honey and Stargazing feature melodic, elevated bass lines and chorus-adorned guitar riffs, creating a romantic and glowing atmosphere. The latter — which I wrote about upon its release as a single last year — takes inspiration from the film “A Girl Walks Home Alone at Night”, and the creative lyrics, combined with the smooth and joyful tune, results in a track that seems impossible to dislike. 

While inspiration from the likes of cult 80s bands like The Cure and The Smiths is evident, much of the record is more reminiscent of contemporary indie-pop, with I Believe In Love (one of my favourites on the album) tinged with the modern sound of Blossoms and The Orielles. 

The album’s title track, Outside Of The Blue, is another highlight. In conversation with Bido Lito!, frontman Johnny Quinn explained the “blue” as encompassing low moments, and periods of depression and anxiety; therefore, to be “outside of the blue” is the best feeling, with the song, and much of the record overall, telling the story of being pulled out of those moments by the love of people around you (“When I thought I was nothing, baby / You brought me right back from the blue”). 

There are no major changes of style throughout the album, with all the tracks maintaining a similar jangly, shoegaze-y sound, but each song is still distinct, the album managing to avoid merging into one. The closing track, The Outside Looking In, is perhaps the most diverse from the record; a stripped back, softer, acoustic number, the song really showcases the quality of the melodic, heartfelt vocals which help to form the sound of SPINN. Quinn’s spoken sign-off at the end of the track is a small touch that rounds off the album perfectly and is a perfect example of the little moments of personality which shine throughout Outside Of The Blue. 

The album has been released later than initially planned, but it’s definitely been worth the wait. While sticking to a pop formula that works, Outside Of The Blue absolutely hits the spot for blissfully uplifting and fun indie-pop. SPINN have truly come into their own on this album, and I think we’ll be hearing a lot more about them in the months to come.

Outside Of The Blue is out now via Modern Sky UK.