Choose to Believe, released on 14 May 2026, is Spinors’ second recorded statement, following the debut Walk Alone, and where that song dealt with the personal geography of leaving Buenos Aires and crossing an ocean in pursuit of something larger, this one widens the lens dramatically. The subject is post-truth \u2014 the industrial manufacture of certainty, the way powerful interests have learned to sell belief itself as a product, the terrifying comfort of a world in which everyone possesses “the truth” and nobody shares it. “The lyrics talk about how we’re manipulated through post-truth,” Code has said, “making the masses behave according to powerful interests while convincing you that you own ‘the truth’.” It is a topic that could easily produce hectoring, self-righteous rock music. Spinors, to their considerable credit, do not let it.<\/p>
“The track hits with the focused density of a band who have been rehearsing urgency, not performing it.”<\/p>
The song itself arrives with the particular force of alternative rock played by people who understand why alternative rock exists. Code’s guitar work is not decorative; it functions as argument, the riffs carrying the song’s scepticism in the way that good rock guitar always translates ideology into sensation. Gabe Scapigliati’s bass playing is the kind that goes unnoticed until you notice it \u2014 which is to say it is doing essential structural work beneath the surface, holding the track’s considerable tension in place without ever announcing itself. Angie Sartori, the newest addition to the lineup, having joined after a chance encounter at a jam session at The Great Southern, plays drums with a precision that sounds hard-won rather than merely technical. The track hits with the focused density of a band who have been rehearsing urgency, not performing it.<\/p> The steampunk aesthetic that defines Spinors’ visual identity \u2014 gears and gauges, Victorian mechanism repurposed as metaphor \u2014 proves surprisingly apt for the song’s subject matter. Post-truth, after all, is an industrial process: it requires machinery, repetition, engineering. The video leans into this, deploying the band’s visual grammar in service of the lyrical argument rather than simply as period costume. The images are unnerving in the right way, suggesting that the manipulation being described is systemic and ancient rather than merely contemporary, a machine that has been running far longer than the internet.<\/span><\/p> Code’s vocal performance merits close attention. He sings with the kind of controlled ferocity that suggests someone who has thought carefully about where to spend emotional force and where to conserve it. The chorus \u2014 and the title phrase itself, delivered with the very particular intonation of a man who finds the idea of “choosing to believe” both understandable and deeply troubling \u2014 lands with accumulated weight. The word “choose” is doing something precise here: it acknowledges the agency involved in accepting comfortable fictions, refuses the consolation of victimhood, and implicates the listener. This is not a finger pointed outward. It is a mirror.<\/span><\/p> The biography of the band has its own novel-worthy elements \u2014 the debut delayed by years because Code refused to leave Buenos Aires until his cat, Glottis, was well enough to withstand the change; the original Argentine drummer replaced by Sartori after a serendipitous jam session; the Britney Spears metal tribute project through which Code and Scapigliati first found one another \u2014 but none of this backstory is worn on the song’s sleeve. Choose to Believe does not require the mythology to function. It stands independently, as songs must.<\/span><\/p> What Spinors are building, across these early releases and the thirty-plus date UK tour that has carried them to rooms from Worthing to Newcastle, from Exeter to Sheffield’s Corporation, is the thing that no amount of algorithmic promotion can manufacture: a body of work that accumulates meaning as it grows. Choose to Believe is a strong, angry, intelligently crafted single by a band who understand that the condition they are describing \u2014 the wilful surrender to managed belief \u2014 demands to be met with music that refuses all such surrender. The song practises what it preaches. That is rarer than it should be.<\/span><\/p>\n\n\n\n\nhttps:\/\/www.sergiecode.com\/<\/a>\n\n\n\n\n
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