On the day Hinds' I Don’t Run was released, it was a gloomy grey spring day in the UK. But while listening to Hinds' follow up to 2015's Leave Me Alone, I could be fooled into thinking it was a clear day in the middle of summer. This parallels the task the band undertook on this album, taking an honest and open approach to the overly complicated nature of love and relationships and turning it into empowered indie tracks. Hinds channel the energy of Joan Jett through a messy garage aesthetic and the result is a glistening pop rock album. A huge component of the band is the amazing chemistry between the four members, Carlotta Cosials, Ana Perrote, Ade Martin and Amber Grimbergen. One of the biggest weapons in the Hinds arsenal is their infectious tag time style vocals. Each voice complements each other perfectly and adds an extra layer of comradery to the band.

This time around, Hinds offer a wide range of observations through a much more diverse set of anthems. The band's sound has matured a lot, though not a rapid departure from their original sound, there is definitely an added element of levity. Each song is almost cathartic as this raw display of honesty is mixed with a catchy sensibility. On 'New For You', Hinds tackle the need to start fresh after a long relationship and the realisation that you have wasted your time going down a dead end. These themes are expressed in a punchy riff and singalong back vocals chanting “I Just Wanna Know It’s over.” This contrast is something that gives the album a fresh punky feeling. However, the album also has its subtle softer moments. 'I Feel Cold but I Feel More' details emotional numbness putting you in a better place. The idea that an inherently negative experience can improve you in the long run. The track is soft-spoken but with a grungy tinge, but it is just one of the main examples of Hinds developing their songwriting ability. Hinds take every song seriously, though there is a loose arrangement to the songs, every piece feels incredibly calculated as part of a song.

'Echoing My Name' starts as another quieter moment from the track-list and builds throughout, it's one of the simpler instrumental moments on the album, but a testament to the charisma of Hinds. The bouncy guitars and kicking drums matched with a set of harmonious vocals again appropriates sounds that are often associated with upbeat indie music into something more melancholic. This leads right into 'Tester', which begins acoustically before going from 0 – 60 and doesn’t drop any momentum. The song describes the experience of being used by your partner, feeling like just a trial run for your other half. The song is ever changing and parallels the levels of the emotional depth of the subject. 'Finally Floating' takes a euphoric approach to feeling “useless” and communicates an angry and fed-up side of the band. It's subtle, but one of the things that could be missed in this album is the change of inflictions and tone of voices.

One of the potential challenges the album faces is just that. Hinds have stated that they took a more professional approach to creating this album and hope the seriousness found here is received as such. I can see a lot of the content being lost in the mix of upbeat anthemic indie tune. However, a listener willing to put in the time would definitely pick up on the intricacies of the production. Every track is individual from each other and though every song doesn’t veer far from the Hinds mission statement, there is a huge attention to detail that elevates this album above their previous work. The album ends summing up this style perfectly with the lowkey 'Ma Nuit'. It is stripped back and bare, encapsulating the vulnerability Hinds often display.

I Don’t Run can be misread as an album of fun alternative rock songs, but under the surface, it is so much more. Every instrument feels perfectly in place to create a wide range of songs. Varying emotions and a distinctly more mature Hinds.