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Spire Cranes is the math-rock/electronica project of Kent-based artist Richard Smyth.

Writing, recording, producing and playing all of the instruments himself, Spire Cranes blends elements of jagged edged IDM with aggressively ethereal guitars, tribalistic Japanese drum styles and neo-classical instrumentation.

In a live environment, Spire Cranes uses a plethora of battered and broken electronics to loop and manipulate a range of instruments including guitar, piano, drums and vocals in a manner that ensures that no two performances are ever the same.

In this way, Spire Cranes has played across the length and breadth of the UK, alongside the rock and indie fraternity, as well as the avant garde electronica scene.

”..Using a PC, an electric guitar and assorted technical wizardry, Spire created a vibrant, highly rhythmic contemporary psychedelic rock sound that captivated the audience. Innovative, original and unique…”

• Cult Media Magazine, August

With everyone suitably relaxed no one was prepared for what came next: Spire Craines. One Cambridge man sporting his guitar, a laptop and what looked like a jazzed up, old skool Yamaha keyboard. All the keys had been taped up and playing cards had been stuck to it; there was clearly some sort of code going on, but it was lost to us, the plebs. The laptop acted as a loop pedal and pretty soon crashing electrons were the order of the day as heavy guitars thundered and the Spire Craine was huddled over his equipment creating ten-minute epics.

His set was highly experimental, filled with a wall of sound built up with interesting textures, breakcore beats and avalanches, and yet, peculiarly, he still managed to sound like Muse. Almost randomly, he’d break into a heavy-metal influenced section. This fiercely alternative set couldn’t have been any more different from Like Spinning, but this was by no means a bad thing.

• Under The Music Tree

When was the last time you went to a gig and felt that teenage combination of fear and excitement? Picture a sepia-lit stage with four smartly garbed musicians staring out steely eyed. Collarless cotton, cravats, smoked chrome glinting on resting Fenders: the scene feels theatrical, anachronistic, subversive.

When the music starts, dark Victoriana bursts into apoplectic rock ’n’ roll, fizzing with a fun kind of fury. Guitarist Ebony Clay and bassist Jack Timmis smash out brawny, off-time riffs that evoke the darker moments of Led Zep IV. The space they and rampant drummer Sam Jenkins create offers singer Andy Teece’s room to spit rhythmic vocals that suggest a super-charged Tom Waits is front and centre.

And then somehow, in the febrile chaos, there is sex and slick-back swagger, the sort of which you’ve seen in recent Arctic Monkeys. Take a minute to process the dark romance directing some of the lyrics and the comparison strengthens.

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