In a day and age where our opinions of Jennifer Lawrence and the President are based on whether or not we’d chug a beer with them, shouldn’t our musicians be held in the same regard? With the recent surge of all-female rock group Hinds on countless streaming services, that likeability- measurement theory is being tested over a few cans of PBR and 12 fuzzy tunes from the Madrid-based foursome’s debut album, Leave Me Alone, which will have you feeling the garage pop buzz.

The general consensus? Another round of Hinds, please.

Consisting of real life besties Carlotta Cosials and Ana Perrote (vocals and guitar), Ade Martin (bass), and Amber Grimbergen (drums), the rowdy quartet have shifted the notion of what an all-girl rock band should be in this social media-obsessed day and age. Musically gifted? Duh. Cute? Can't hurt. But during this period of user-tested pop stars, the ladies of Hinds are an authentic breath of fresh air. Before Martin and Grimbergen joined the group, the band was formerly known as Deers. While they were legally forced to change their name thanks to a case brought on by Vancouver’s all-male band The Dears, the ladies’ next rebellious step into the music industry was cleverly changing their name to Hinds, which, in case you don’t know, means... A female deer.

Extra points to the ladies from Madrid. The fellas in Vancouver? Zero.

Hinds is an excellent example of musically progressive females having fun, breaking gender stereotypes, and making quality tunes that emphasize Madrid’s laid-back garage band culture they grew up around. Their debut album, Leave Me Alone, is a sonic testament to that lifestyle. While the energy from the band’s early days is still evident (take for instance the band’s tour diary videos or visuals titled “unofficial but amazing video made by us with love and affection”), Hinds have fine-tuned that wholesome energy into a 12-track debut that glimmers in all the right places.

Leave Me Alone continues the warm party vibes and authentic DGAF attitude first displayed in their early work as Deers. The album’s opening track, "Garden," welcomes listeners to the Hinds pregame with a riffing guitar entrance that ascends into a concentrated group effort. The easygoing tempo and progression of tracks on the album mimics the schedule of a typical Friday night in Madrid, which starts with a few sips of beer with high-energy playful tunes such as the “Fat Calmed Kiddos” then eventually graduates to tequila shots and bong rips by the time “Chili Town” cues on the playlist. A gleeful tipsy rage even ensues during “San Diego,” where the girls valiantly chant “I’m staying, I’m staying,” and let us know that the Hinds takeover has only just begun.

Leave Me Alone is an imperfect record, which is what makes it, well, a perfect record. Hinds’ debut is a testament to both the current state of the male-dominated industry and real life, where these girls really do just want to have fun and make a statement while doing so. As evident in both real life and in Leave Me Alone, friendships are never perfect; impromptu parties can get messy; relationships don’t have fairytale endings; and life is never easy. So why should garage pop tunes be? With Hinds, four twenty-something female musicians prove that fuzzy, live performance-based lo-fi straight from the realm of garage pop should be just as unexpected and splendidly imperfect as life itself.

You might not be able to have the tight-knit friends of Hinds take you through the woes and joys of life, but with Leave Me Alone, you can at least pretend like you're part of the crew.