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 Everett True

The return of Everett True | 125. Hinds

The return of Everett True | 125. Hinds
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I have no idea if they’ll remain this good the whole time the four ladies, the two ladies, are together. It seems near unbelievable they could be.

But there again, there’s Kim Deal.

If you don’t get this video on any level, if you do not understand this music just one nano-second of a nano-second, if you do not understand the power of the near and the approachable and the natural, if you do not fall – and fall really heavily – for the infectious self-assurance, the wonderful lack of embarrassment, if you do not realise that this is quite the most glorious noise with all the laughter and giggles and tentative bass and shout-screamed vocals, the playful interplay, the wanton interruptions and heroic dancing, the smiles cast so wide they could swallow the entire whiny grey world of indie music and the Grammys too, if you don’t ever feel the desire to get carried away, want to be carried away by the lust for echo and echoing guitar, the love of 60s garage and 60s garage, the curl of smoke as the cigarette drops to the floor, the wrongfulness of harmonies discarded, the pop rapture of Brisbane’s Go Violets, the Ramones Ramones Ramona,  these and a thousand million minutiae too, the fact the Monkees were the Monkees, the delight in not caring, the delight in just not caring, the fact that no matter how many face tattoos and bandanas and Iggy Pop outtakes you acquire you ain’t never going be even a 10000000000th as cool as rock’n’roll as Hinds (FKA Deers) already are and always will be, then I really really really really really really really really really really really really really really really really really really really really really really really really really really really really really really really really don’t want to hear even a solitary pitiful song in your fucking record collection.

Dolt.

And you’re probably shit in bed, too.

I did a bit of research and read a few articles, and EVERY band Hinds cite as an influence, they’re already better – like 20,000,000,000,000,000 times better – because…

See also: early Slits.

I want to quote two writers here, both male – but I really do feel my gender needs to balance up the scales in a MAJOR way.

Ben.

Hinds (SPN). They were called Deers, now Hinds, and you’ll be hearing the name again. I’m not the first to tell you but it bears repeating. What you’ve heard is pretty damn charming…but that was a duo and you’ve gotta hear the way the band plays it. It LURCHES, it SWINGS and GRINDS, it SHUDDERS stop, you peer over the edge and at each other for a weightless age, it DROPS, it SPEEDS, people SCREAM. We’re talking Breeders levels of queasy joy, with impish grins and banter to match. Monkeeing around. They’ve got songs to spare, the ones you know and plenty you don’t, like the final number that probably doesn’t, but sounds like it does and might as well, chant “GABBA GABBA HEY!” for a minute or ten.  Both crowd and band are stoked, laughing, we picked a winner. When it ends I text a glowing review to Mr True only to look up and find him at the foot of the stage, bone-dry and smiling. (In Words: The Courtneys + Hinds + The Furrs @ Black Bear Lodge, 20.02.2015)

Scott.

It’s a minor song on Last Splash, probably not the first one you’d think of, but still it swoons and drones. And notice Kim Deal’s totally unique songwriting gift — the ability to use odd meters and indeterminate keys in her songs and make it seems totally natural and seamless. Just check out ‘Hag’. Unlike, say, Soundgarden, or some similar band whose sheet music is filled in unusual fractions, you’d never notice the changes in ‘Hag’ unless you bothered to count.

In this sense, she has more in common with Burt Bacharach than any of her so-called alt-rock peers.

It can take 20 years to fully unlock the mysteries of a song like ‘Mad Lucas’. Seeing it performed in person was like watching someone solve a puzzle in front of you. The Breeders are magicians.

So the show starts and they come walking out and waving in a way that’s so simultaneously dorky and cool that it makes both those terms absolutely meaningless (which it turns out is part of The Breeders genius and why we should worship them, but I’m getting ahead of myself). (Live Review – The Breeders / Deerhunter @ Variety Playhouse, Atlanta, 15.05.13)

Hinds – they’re like the anti-Foo Fighters.

More reverb!

One Response to The return of Everett True | 125. Hinds

  1. Pingback: song of the day 1. Jenny Hval | Music That I Like

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