The Weekly Coos

Though Hinds may be down two members, they’ve recouped and within four years of their last release, The Prettiest Curse, they return with Viva Hinds, an album that explores the key high points of their craft; it emboldens this sentimentality that nothing has changed, feeling revitalized as ever. That sense begins to breathe when you look at the album cover and see the kinship that the remaining members, founders Carlotta Cosials and Ana García Perrote express, reflected in the music too. It hits you harder when the two open the album with a reintroduction that doesn’t shy away from having mixed emotions from what was the last four years of releasing a fantastic record and losing two key members, yet coming back stronger than ever. Viva Hinds returns to its roots of nuanced garage rock/garage pop without missing a beat, delivering some wonderful performances that remain memorable despite the album flying by swiftly. It is this slight push away from The Prettiest Curse’s frequent pop melodies, however, the production still shines alongside the vocals, creating a more uproarious album that defines the expressive emphasis behind VIVA.

Viva Hinds isn’t devoid of pop melodies, still, it has less of it, opting for more untraditional songwriting that takes different directions or perspectives, like how the opening track is more conversationalist while others like “Coffee” or “Superstar” use instrumental breaks to shift the dynamics between “parts.” All shifts feel natural here, similar to how it can transition in styles with fluidity. Much of that comes from themes relative to what is common amongst artists, like “Love,” except with their sense of style, which comes from continuing to explore identity by singing more in Spanish, their native language, and other avenues. Sometimes they aren’t treading into new territory and using more emotion to get the juices flowing, but thanks to help from Pete Robertson of The Vaccine’s production, the sounds are clear. The music comes at you with oomph, rarely wasting your time, even when it plays safe by retreading themes. Unfortunately, the swift pacing makes some of it more present, like the too simple “Boom Boom Back,” which has fun with Beck duets but doesn’t match the energy with the production. It’s similar to the instrumentations of “Stranger” though the performances and dreamy landscape tinge it slightly above with Grian Chatten on the other side of the vocals.

Hinds’s Spanish language tracks are the shining highlights. Unlike previous tracks with a semblance of garage rock, it brings more sonic influences relative to who they are. “Mala Vista” is lively and poppier, bolstering definition in its string layers and making it stand out amongst the rest. “En Forma” is the other Spanish language track, and it does similarly to “Mala Vista” with its poppy melodies, but they imbue with that rock-n-roll bravado that the energy remains high. Though the album has different structures for the songs, its strength comes from the performances bringing their ideas to life and invigorating you fervorously. The performances in the Spanish tracks are some of my favorites but tracks like “Coffee” and “The Bed, The Room, The Rain and You” have this uniqueness with the melodies where it’s more emotively catchy, unlike “On My Own,” which comes across as uneventful, compared to what comes before and after. Viva Hinds succeeds with showcasing what makes them great, and how they conquer their imperfections, allowing it to boost what you’re hearing instead of feeling dour due to it. It helps that the writing is solid.

Whether through structure or how they relay what they want to say, there is creativity afloat with these songs, and that’s a positive that continues to remain true for Hinds. It may have its drawbacks, but when you get a track like “Coffee” where it focuses on being unabashedly themselves or losing relationships because of a shift in focus with “Superstar,” something is clicking that adds more connectivity. Even with a lesser track like “On My Own,” where it looks at the tug and pull of a relationship, the structure adds some intrigue even when it doesn’t land. A highlight comes from “Stranger,” and it’s direct in how it’s speaking as they sing about not recognizing themselves. It has high points that keep you engaged; however, when you reflect on what you hear, it’s another album by Hinds that feels expected, but still great enough that it won’t miss a beat in your ears. It’s an album that was fun listening to; I just wish it was slightly longer.

Viva Hinds is another solid entry that revitalizes the two frontwomen, Carlotta Cosials and Ana García Perrote, as this eclectic bunch in an otherwise less poppy genre of rock and with bravado. Their use of production to create these fun and introspective intangibles elevates the sounds tenfold. I was left vibing, even when the potency wasn’t strong. There is something to Hinds that makes them so listenable and unique that I can’t help but recommend the album, despite its flaws. They relish it and make up for it with fantastic chords and melodies.