Hinds' second 'similarly bullish' album, 'I Don't Run'

The artwork for the band's new album

A first glance at Hinds' second album reveals an unrefined, almost candid, shot of the Spanish garage-rock quartet, sat leering rather disdainfully at the lens. This image could do little more to accurately reflect a band whose music exudes a playful ease to its production, and thrives off an overriding sense of carelessness and swagger.

Hinds' debut, the similarly bullish album titled Leave Me Alone, swarmed with honesty and edge, a far cry from any overproduction or refinement – and was a highly striking album as a result. It is often difficult, once a debut album has achieved some success, to continue this popularity with the second and not produce a mimic which is overshadowed by its more original predecessor. I Don't Run sees the band opt for a slightly more polished approach, but since the bar is set so low, this does not equate to over-worked and refined music; there remains a rather raw and compelling nature to their latest work. If anything, the apparent effort to create a cleaned-up sound creates a more listenable take on their earlier music.

While Hinds' debut could be potentially jarring in its rather chaotic formlessness, I Don't Run is less amorphous and sees a greater exhibition of maturity that is, thankfully, still rather muted. There is certainly a greater variety to the styles explored by the Madrid-based quartet. Opener, 'The Club', is a better signpost than any that Hinds do not intend this album to slip under the radar. The vocals of Perrote and Cosials leap out boldly. The boisterousness clearly has not been lost in the period between albums, and this continued vocal strength is accompanied by added bite to the instrumentals.

The sounds of their debut are evoked in 'New For You', but this too is given greater individuality through a quite surprising guitar interlude – evidence that this album will not allow songs to drift so easily as they might have previously. There are signs of branching out on I Don't Run, particularly in the direction of greater vulnerability. 'Linda' exudes melancholy through uncharacteristically clean vocals and guitar, while 'I Feel Cold but I Feel More' has a notable drop in pace and exemplifies the album's greater emotional maturity to match its musical progress. 'Rookie', meanwhile, would not sound out of place on The Fratellis' Costello Music, and it is a punchy relief following the characteristic chaos of the preceding 'To The Morning Light'.

The album's variety concludes with the steamy, low-fi, 'Ma Nuit', a stripped-back, barely audible, track, reminiscent of a live session. While this track, which sees the band abandon English vocals for the first time, is in fact a fairly unexciting conclusion, it highlights Hinds as a group willing to expand on their established styles. I Don't Run also finds highlights in the grungy 'Soberland', where Perrote and Cosials' vocals work well either in flowing tandem or as a screaming pair, and in 'Finally Floating', the band achieving a perfect balance between rebellious discordance and a compelling listenability.

In producing an album which aims to expand into other musical styles, Hinds have created, primarily, an interesting and incredibly enjoyable listen. It is difficult not to buy into the warmth and energy emitted from even the more sentimental tracks, nor to appreciate their ability to make jarring vocals co-exist with poignant lyrics and compelling guitar riffs. I Don't Run is far from a ground-breaking album, but there is a constant vibrancy and honesty which gives the album an altogether different appeal. Hinds have indeed managed to build on the success of their debut, and in doing so have added greater complexity and variety to their already impressive musical repertoire.

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