Hinds Leave Me Alone

Alone

For a country that hosts some of the most popular and respected festivals
in the world,

Spain’s own music scene has remained surprisingly under the radar. Compared with other parts of the continent,

most Spanish music doesn’t seem to have entered the public consciousness
far beyond the occasional Alone

flamenco and a handful of electronic artists like John Talabot, Delorean and El Guincho.Alone


Granted, the country is home to the excellent Elefant Records, but
outside of releasing early material by

The School and Camera Obscura, that Madrid-based label is all but invisible outside of a certain
audience.

Hell, the only revelation I’ve ever had about modern Spanish
music was via the ‘Rough Trade Shops Indiepop 1’ compilation.


Coming right after Felt’s maudlin masterpiece ‘Penelope Tree’, Juniper
Moon’s ‘El Resto De Mi Vida’ practically leapt out of the stereo – a
restless,

effervescent classic, which actually compelled the album’s
compiler to take Spanish classes at night school,

“just to know what I was singing.”


Enter Hinds. The rise in popularity for the Madrid quartet has been as
swift as it has been unexpected,

and their debut album comes barely a year since they first came to the UK to play their fourth ever gig.

‘Leave Me Alone’ peddles a distinctly DIY brand of ramshackle girl-gang
garage pop, itself an unholy collision of The Raincoats, Kenickie and Mac
DeMarco.

The album is way more lo-fi than most buzzbands’ debuts dare to be;
songs shift tempo out of nowhere and Carlotta Cosials and Ana García
Perrote trade vocals like two teenagers giddily sharing a bottle of
cider in a park.

And while the songs aren’t exactly fragmentary collages, their elusive hooks replace each other pretty quickly; this, by the way, is a good thing, and their enthusiasm is contagious.

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