Hinds is a 4 girl rock band from Spain who love to sing Bob Dylan songs in English. Carlotta Cosials (vocals, guitar), Ana Perrote (vocals, guitar), Ade Martin (bass) and Amber Grimbergen (drums).
Hinds is a Spanish indie rock band from Madrid, formed in 2011, consisting of Carlotta Cosials (vocals, guitar), Ana Perrote (vocals, guitar), Ade Martin (bass) and Amber Grimbergen (drums). The original name of the band was Deers, but they were forced to change it at the end of 2014, due to the threat of legal action from a similarly named band. The group chose “Hinds” (female deer) as the new name of the band and announced officially the name change on 7 January 2015. They have released one album and two singles.
“One second – I’m going to grab a beer so I’ll feel relaxed and tell you our secrets,” Ana García Perrote says with a laugh. The 21-year-old singer-guitarist is backstage at a theater in Lille, France, killing time before she hits the stage with the Madrid-based quartet Hinds. Their shows are ridiculously fun garage-rock rave-ups – much like their debut LP, Leave Me Alone – and lately the crowds have been wilder than ever, which is just how Hinds like it. “Our audiences used to be more shy,” Perrote says after finding a Belgian brew. “But now people know that if you go to a Hinds show, you can get as drunk as you want, and dance as much as you want, and you can even go onstage. You can just feel free for an hour.”
Hinds began in the summer of 2011, when Perrote and singer-guitarist Carlotta Cosials, who met through an ex-boyfriend, brought a couple of acoustic guitars along on a vacation to Spain’s Mediterranean coast. “I didn’t know how to play,” says Cosials, 24, “but Ana taught me the three chords that she knew.” They ended up sitting on the beach, strumming Bob Dylan’s “It Ain’t Me, Babe” and trying to memorize the knotty lyrics. “We got really obsessed,” Perrote says. “We had tan lines from where the guitars cast shadows on our bodies, and our fingers had marks on them.” Next, they tried busking their Dylan cover and a few other songs by the shore; it was good enough to bring in 30 euros. “We were so happy that we could pay for the gas to Madrid and back!” says Perrote.
That fall, they played a couple of gigs back home as a duo. The first was a success. “Madrid is super-small – we only have, like, five venues, and they’re all right next to each other,” Cosials says. “So suddenly seeing your friend playing guitar and singing was a very bizarre thing. Everybody was so happy.” But the spell came undone at their second-ever show. “We changed all the songs on the set list and played new ones and more difficult ones,” Cosials says regretfully. “It was terrible! We were super-ashamed.”
Their career quieted down after that, only to roar back in 2014, when they rounded out their lineup with bassist Ade Martin, 23, and drummer Amber Grimbergen, 19. A few buzzy singles later, they were selling out club shows in the U.K. and Germany. “We uploaded some songs to the Internet, and that evening we had emails from people in London and the U.S.,” Cosials recalls. “Even if we weren’t totally ready to show ourselves to the world, we decided to just do it and accept that our level of knowledge of being in a band was zero.” She laughs. “It’s crazy!”
At the time, the band was known as Deers; in early 2015, after a similarly named act threatened legal action, they posted a characteristically carefree handwritten response online. “We received an email from a Canadian lawyer saying that our name created confusion with his band’s name,” they wrote. “And that name is not even Deers (LOL). We tried our best, really, but we have no choice, so… Okay!!! Let’s take this with a smile!!!! Deers are now Hinds! And we are the same people, we are even the same animal! Unbelievable!”
The band will spend the month of February riding around Europe in their tour manager’s van in support of Leave Me Alone, chatting and listening to Strokes and Mac DeMarco albums to pass the time. “We are very, very talkative,” Cosials says. “I don’t know if it’s because we’re Spanish or something, but we talk almost all the time when we’re awake.”
After that, they’re excited to return to the States this March. “The wildness of Americans really turns us on,” Cosials says. “People really give themselves to the music. In Europe, people don’t go that crazy. Music is the door of freedom!” They’re still talking about the house party they played in one Kansas City fan’s basement after rocking a local theater in October. “It was exactly how Europeans imagine American parties,” Perrote says. “There was alcohol, there was weed, there was everything. Everyone was making out with each other. We couldn’t hear anything because everything was so loud. This is the best work ever, seriously.”
The 1-4-0: #Redeemer is a hard-hitting beat-em-up action film held back by some glaring flaws.
The Gist: Pardo (Marko Zaror), an ex-hitman, is on his quest for redemption after making a mistake he paid for dearly. He becomes involved in the Chilean drug empire, led by a man called Bradock (Noah Segan), in order to save the lives of a pair of civilians he runs into. Meanwhile, Pardo (The Redeemer) is hunted down by an old foe, The Scorpion.
What Works: The chemistry between actor and director, this is the 4th film Zaror and Espinoza have worked on together, is very apparent in the scenes. This results in action sequences that work well for the most part. They’re gory, and every punch lands so hard you can feel it through the screen. Martial arts fanatics will definitely get a kick out of some of the choreography. Pardo also has a backstory that is slowly revealed in flashbacks throughout the film. Though at first they may seem a bit tacky and questionable, they work in delivering a satisfying conclusion to the character’s arc. It also allows for Zaror to showcase his acting chops, which have really improved since the days he was a mere stunt-double for Dwayne Johnson in The Rundown.
What Doesn’t Work: The film is somewhat of a slow burn. It tries very hard to be a much darker and serious film. This takes away from the fun of it being a simple action movie. While the fight sequences tend to deliver, there are moments when they begin to feel tiresome. Pardo can do no wrong. At one point he’s surrounded by nearly a dozen men, all with some kind of firearm pointed at him, but he is able to take them all out with his bare hands. Cool, sure, but it takes away any sense of urgency from the scene. These scenes also begin to overuse a slow-motion effect that adds no flavor to action. The religious and vigilante undertones are also a bit much; Pardo tends to pose in a very heroic (think Batman) stance every time he approaches a group of baddies. It grows silly and tiresome after the first few times and you just have to wonder how his hood stays on for the entire fight. Redeemer also suffers from plot inconsistencies that are too glaring to ignore. They don’t serve the story well nor do they allow for any other character to grow and develop.
Pay or Nay: Nay. Fans of martial arts films may get a kick from Redeemer, however, it’s not a film one should run out to see. While the ride can deliver in certain moments, it even has an interesting protagonist to back it up, it is too uneven to fully enjoy. Chilean native director Ernesto Diaz Espinoza tries a bit too hard to deliver a film that’s darker than it should be. Skip this film and rest assured you won’t be missing much.
The 1-4-0: Guy Ritchie adapts the classic 1960s series into a flashy, but mediocre summer action film.
The Gist: Based on the classic TV series of the same name, former con-man turned CIA agent Napoleon Solo (Henry Cavill) must team up with KGB operative Illya Kuryakin (Armie Hammer) and a East German mechanic Gaby (Alicia Vikander) to stop a secret organization from obtaining a nuclear bomb.
What Works: This film is aplomb with Guy Ritchie’s signature visual style. From the credits, to the fun opening chase scene, to the very last shot, Ritchie’s fingerprint is evident. His flashy editing, clever use of subtitles, out-of-sequence storytelling, and excellent framing are all present. Ritchie clearly had a blast with the film’s 60s setting and aesthetic, including several sequences inspired by films such as the original TheThomas Crown Affair. There are several chuckles throughout, with witty dialogue that reminds the audience of classic James Bond films. More than anything it is clear the people behind the camera are in love with this property and this world.
What Doesn’t Work: The same cannot be said about those in front of the camera. Henry Cavill’s laidback performance as the not-so-reformed Solo is inspired by Connery or Moore’s Bond, but Cavill sadly lacks the charisma to sell it. Likewise Hammer’s Kuryakin comes off as clunky, his Russian accent a little too thick. The interplay between Solo and Kuryakin is fun, but, like Kuryakin’s interrupted romance with Vikander’s Gaby, these scenes don’t feature the necessary crackling chemistry. And while Debicki’s villainious Victoria is a sexy, formidable opponent, her motivation to obtain the bomb never really rises above the simplistic character description of “is a Nazi.”
The film suffers from uneven pacing, and is never able to find its rhythm, a problem solidified in what amounts to two unsatisfying climaxes. Ritchie also makes the mistake now all too prevalent in films intended to restart franchises, waiting until the very last minute to give the team/hero a name. The audience came to see the Man From U.N.C.L.E., they shouldn’t have to wait until the end credits to learn what that acronym means.
Pay or Nay: Nay. This is by no means a bad film, in fact in many ways it was quite fun. The theater was often filled with chuckles and many scenes left the audience smiling. However, the lack of chemistry between the leads, the uneven pacing and the shrug worthy double ending make for a decent rental, but not a night out, that honor remains to Mission Impossible – Rogue Nation.
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