No band in the known universe appear to enjoy the life of the travelling rockstar more than Madrid’s Hinds - as a cursory glance at any one of their bustling social media accounts will make clear. The quartet have been releasing music for nearly four years now, dating back to their earliest demo release in 2014 under the name Deers, a name they were forced to abandon in light of a legal threat (a hind is a female deer, FYI).

This month saw the release of their second studio album, the critically acclaimed I Don’t Run, which saw the band take co-production duties alongside Gordon Raphael, whose work on The Strokes’ early records was one of the things that first bonded Hinds joint frontwomen Ana Perrote and Carlotta Cosials.

As they get started on a long year of touring the planet, we caught up with Ana and Carlotta. In between rounds of their favourite game, which involves singing the lyrics of a song to a melody that is as dramatically different to the original as possible, we discuss the more serious matters of the reaction to the new album, how being an all-female band still presents its own obstacles, how they are the first Spanish band to reach the sort of audience they have and how they take advantage of having two frontpeople with such different characteristics.

How does it feel to get the second album out of your system and to let people hear it?

Carlotta Cosials: It’s kind of crazy to think that suddenly we have two albums out and we are that kind of band. A grown-up band!

There’s a line on ‘The Club’, the first track, which goes, “It’s cool to grow up”. I don’t think you would have sung that on the first album, so what has changed?

CC: A lot. Of course, everybody grows up, and the thing about touring is that you suddenly have to grow up faster than in regular life. Every day counts double. Everything is so intense and out of control and extreme that it feels like you’re living double. At the same time, I never like to blame your decisions on your age anyway. So that line is to say, ‘it’s ok, time goes by and the future could be nice, don’t be scared about it.’

A lot of the reviews of the new album talk a lot about how you’ve grown up, but it doesn’t sound that different to me?

Ana Perrote: Thank you! It depends – for example, I think the lyrics are clearer, so that’s why maybe people understand them more and think that. But I think on the first record they were also pretty tough and introspective too.

The other comment is that the album is more polished and cleaner sounding…

AP: It’s not really polished at all, no.

CC: It’s still filthy!

AP: I would say it’s not lo-fi, that’s the only change. There’s stronger bass, stronger drums, but no auto-tune. We’re still choosing the tracks where we’re yelling and out of tune. On purpose we still have a lot of punk attitude, and we still record live.

CC: We had a really good mixer. He had really good ideas about the sound of the guitars and the sound of the drums. Maybe that’s the reason that people say it’s more polished.

AP: We’re also better musicians now, so if that means more polished then I guess so.

CC: I would say it’s more compact, it’s thicker, it’s deeper, it’s stronger, but I don’t know if it’s more polished.

AP: When we read these reviews, they’re in such an extreme, cool version of English anyway that we just think, ‘this sounds nice, we’ll take it!’

What is the question you’re most bored of being asked?

CC: The one that’s tough because we feel like it’s necessary to answer it with a lot of time and effort is, ‘What is the Madrid music scene like?’. Because it doesn’t change that much, so we’ve been saying the same names for a year-and-a-half.

I imagine you get a lot of questions too about being an all-female band?

AP: But that’s cool. We have a lot to say about it, and there are not a lot of people that can speak as this minority.

It definitely seems less noteworthy for an all-female band to exist now.

AP: Yes, definitely.

CC: I think it’s still important to talk about. If you choose not to talk about it and treat us as equally as if we were boys, then that’s cool too, but the numbers are not 50/50. We need time for that. We need younger people to see girls in bands, so that they can grow up and ask their parents if they can go to music school or if they can play the guitar or whatever. You need time for that, a generation to change it. We need a lot of the older people to die – I’m so sorry, but with their death will die old thoughts. This is tough, I hope nobody gets offended, but a lot of these old thoughts that we’re stuck with in this society will die, and the younger people will have more modern ideas: feminism and equality especially, and girls will have the ability to do whatever they want.

Do you feel like you’ve had obstacles in your way because of gender inequality?

AP: It’s a constant fight. Even in the smallest, tiniest details.

CC: In general, minute by minute and second by second, we are more judged because we are girls. When you choose art as your job, where art is a free space and nobody has a right opinion or wrong opinion, it’s kind of tough to be more judged just because you’re women.

AP: We always chose our team in a very human and personal way, we don’t work with anyone that we don’t know or trust, or that we don’t think really understands our project. When we were choosing a label, we would ask them why do they like us, and if they said, ‘Someone in the office said that….’, we’d ignore them. That happens a lot too with press. ‘The top ten female bands at the moment!’ That kind of thing sells a lot of magazines. [rolls eyes]

CC: Having Spotify playlists, ‘Girls in Rock’ or ‘Female Voices’, I see it and I want to support girls of course, but I don’t know if this is maybe classifying us again.

AP: It’s like saying we all make the same music because we are women.

CC: It’s a weird moment for everybody, and it’s kind of uncomfortable sometimes. Those playlists, I don’t know if it’s the right thing, but I think it’s necessary.

AP: In the UK, when we released our first two songs [the ‘Bamboo/Trippy Gum’ 7” in 2014], we were compared to Wolf Alice, for example. Wolf Alice! Like, we love them, we’re friends, but really?! Is there anything apart from the singer being a female?

One of the unique things about Hinds is the sense that you have more than one frontperson. You seem to have very distinct personalities playing off each other. Do you write separately or together?

CC: Always together. We sing really differently, which is super cool, and that’s one of my favourite things that we have. Our vocals could not be more different, it’s gold I think, because you can’t choose that. We use it in the best way we can. But we write the lyrics all together.

AP: We write a poem, and then when we have the melodies, we develop it, and figure out whose voice sounds better on each bit. We fight over the best lines!

Do you ever feel like you picked the wrong person to sing a certain line?

AP: Sometimes we change it for when we play live, and no-one has ever said anything! No-one has ever noticed, not even our manager. The way we do it, we write in such a short time that once we’ve been playing them for much longer, we realise that we should arrange it differently.

CC: All of our songs sound different in the live show than they do on the album.

Do you deliberately try to record the songs as early as possible then?

AP: No, we wish we had more time.

CC: The way we’ve done the two albums, we spend a lot of time writing, we go into a lot of detail on the lyrics, the melodies, the structure, everything. Then we record it live, so it’s kind of fast, then the mixing takes a lot of time. But we’re not the kind of band that spends a lot of time in the studio trying different instruments or whatever.

AP: We always like to have everything done by the time we get to the studio. And if we don’t, we’re going to have nightmares. We know how our minds work – one minute we can love a song and a week later we fucking hate it and don’t want to play it anymore.

You were quite involved in production yourselves.

AP: Yeah, we co-produced it. We 100% wanted to do that, we were scared of bringing someone external to Hinds. We take care of all the details, just the four of us, from how we post, how we design our merch and our backdrop, who is going to tour with us, our label, it’s all really personal. The bigger it gets, we still try to keep it that way. And then suddenly, we’re going to have Gordon Raphael produce us! We’re huge fans of his, but at the same time we knew he liked our first demo as Deers because he wrote to us. So we knew if he liked that, he’d like what we’re doing now.

How did he come on board?

AP: We were thinking about who would be the meeting point between Diego Garcia, who is our friend but doesn’t have that much experience yet, and someone who our label thought would be good. We wanted to feel comfortable.

CC: The way we started, none of us had played before, so it only worked because we were on the same level. Suddenly exposing a song that you haven’t finished and aren’t proud of yet to Gordon Raphael, oof, that’s hard.

AP: What if he changes a lot, he could change Hinds! Maybe Hinds wouldn’t make sense if that happened. But he let us do whatever the fuck we wanted. He was our first and only choice.

I have never known a band who tours as much around the world as you. You must get burnt out sometimes, but it never seems that way on stage?

AP: Because it’s the best moment of the day! If you’re burnt out, the best thing you can do is play a show.

CC: For real, it is the best moment. Going onto the stage is wonderful!

You toured a lot internationally straight away. Was that normal amongst bands you knew?

CC: No. It had never happened in Spain before.

AP: It was the only option we had. We just released the songs, and the only emails we got back were in English. That doesn’t happen in Spain, we were the first band ever to have an international career starting right from the beginning.

So would you advise other young bands, in Spain or anywhere, to do the same?

CC: Yes, definitely. I think they see us, and think bigger.

AP: Steve from our label [Lucky Number Music] was telling us that every day he gets an email from a Spanish band! That’s really sweet. We just did it and it happened, we couldn’t have planned this, because we didn’t think it was an option. But now that it is an option, I’m sure that other new bands are working harder.

When you look back, do you see lots of mistakes that you made, and things you wish you’d done differently?

CC: It wouldn’t have happened if we hadn’t made mistakes. We are here because of failing.

AP: We had two options: one, pausing everything because we weren’t ready and losing that train, or two, taking that train and seeing what happens. We took the second one. If you’re from Spain, you’re not going to get that second opportunity.

I Don’t Run is available now on Lucky Number Music.