Having spent three months studying in Spain – although describing Barcelona as Spain is perhaps a little risqué in certain situations – before returning to a Glasgow winter, I feel somewhat of a longing to return, and a connection with the people in general.

The debut album by Madrid quartet Hinds therefore seems to serve as some reminiscent reminder of a time gone by, of sun, fun, and terribly monotonous technical work (though the music doesn't really reflect the latter). Bristling with joy and whimsy, Leave Me Alone is a record apparently designed for drunken singing and dancing, or at least that's the atmosphere of messy socialising it creates.

Carlotta Cosials and Ana Perrote's vocals are imbued with all the passion of an eager karaoke singer, though with a consideration higher quality execution, and Hinds' music is a charming kind of fuzzy garage indie. The lyrics are entirely in English, and appear to address one or perhaps several levels with equal levels of desire and disgust.

The interplay between lead and rhythm and guitar is particular fun, like on 'Easy' where the jangling chords are sliced up by a distorted riff throughout, whilst partially faded lyrics weave another tail of not-so-perfect love. 'Solar Gap' is a passive instrumental number which leads into single 'Chili Town', which encapsulates the Hinds style with its wandering guitar line, harmonised dual vocals, and gentle approach on the edge of raucous party mode.

Following another single, 'San Diego', arguably the album's strongest slice of optimistic fuzz, Leave Me Alone takes a sombre turn on the final stretch to its completion. 'And I Will Send Your Flowers Back' is gentle, 'I'll Be Your Man' is endearing, and closer 'Walking Home' injects a suitable level of energy to conclude an engaging and smile-inducing album.

An excellent blend of fiesta and siesta, Hinds' debut record Leave Me Alone has delivered on the anticipation and promise presented by earlier releases and performances. This quartet are undoubtedly cool, and are providing a welcome ray of sunshine to cut through the dreary winter.

Leave Me Alone is available from Amazon and iTunes.

In celebrating its 10^th birthday, End Of The Road remains a unique and brilliant fixture of the UK festival calendar. Housed in the exquisite settings of one-time Victorian Pleasure Gardens, EOTR has grown in recent years, but refuses to part with any of its charm. There’s a relaxed and welcoming atmosphere, but they are deadly serious about their packed and diverse line up, which showcases huge names and those in the making.

Among the free-roaming peacocks, the festival is also packed with comedy, fantastic art installations, a Forest Disco and perfect little touches. (How does a surprise performance from Laura Marling on a tiny, hidden Piano stage sound?)

In an increasingly busy festival calendar, End Of The Road stands out from the crowd, and you can see it in the enjoyment of the performers. You’ll see many of them wandering around the site before and after their sets, and there’s no wondering why.

On Friday afternoon there were captivating sets from the Race Horses’ Meilyr Jones; moody Canadian outfit Ought; the fantastically raw Torres; upbeat art-pop act Django Django and the wacky King Khan & BBQ Show (complete with gold cape and black leather pants).

But Friday belonged to Tame Impala, who headlined The Woods stage with a commanding and mesmerising set. They flowed through earlier, guitar-led material and the more disco-focused Currents. Opening track ‘Let It Happen’ pinned their colours to the mast for a dazzlingly trippy set, and when the stomping favourite ‘Elephant’ started, the festival really felt underway.

The night was capped off by East India Youth, who performed a spellbinding electro-pop set in the Big Top Tent.

Saturday began with the colourful Human Pyramids, who performed a wonderful, orchestral show. With a stage literally full of musicians, it was the perfect wake up call, complete with uplifting string arrangements, clever melodies and startling drums.

Following this came The Duke Spirit, Slow Club, whose impact was lost slightly on a larger stage, distinctive LA two-piece Girlpool and the abrasively rocky Ex Hex. All this preceded the explosive Fat White Family, who tore the Big Top Tent apart.

As the highlight of the entire weekend, special praise must be reserved for Sufjan Stevens. Making his first UK festival appearance, Stevens played one of the most astounding sets you are ever likely to witness at a festival, during which you could hear a pin drop.

To stun a festival crowd into silence on a Saturday night is no mean feat, but in brisk September conditions the real chill comes from the wonderfully bleak compositions of Carrie And Lowell. ‘The Fourth Of July’s’ refrain “We’re all gonna die” is one you would expect to be a bit too drab for this crowd, but it’s absolutely spectacular. After sharing a hand-written letter he had received from the organisers some 8 years earlier, requesting he played, it was more special for the wait. Then when things got a little too solemn, Stevens would react appropriately, playing feel-good tunes like ‘Chicago’ and ‘Come On! Feel the Illinoise!’ complete with a brass backing band.

Following Saturday’s chill, Sunday was gloriously warm. We are welcomed by indie darlings Hinds, who had clearly brought some Spanish sun. In turn, the inhabitants of the Big Top tent groove to the tunes of Ultimate Painting and Happyness, who bring a dreamy slice of '90s-inspired rock. Later Alvvays brought their sugary indie pop to the sun soaked main stage.

Mac DeMarco offers a 10^th birthday cake for the festival, alongside a slick set on the Garden Stage. “I’m going to cuddle up to a peacock and ruffle a few feathers, if you know what I’m saying”, a spaced-out DeMarco announces, in his best bloke-in-a-porno impression. Towards the end of his set, Mac leaps into the crowd, but “straight to the ground as always.” Meanwhile his band-mates, who have personalities and talent as immense as his, chuck their guitars to and fro, amidst impressive solos.

The grandiose sound of The War On Drugs, driven by Dylan and Springsteen’s influences, is chosen to call an end to the festival. Like so many others they show a genuine pleasure to be playing, saying the only other time they’d been asked, they simply couldn’t afford the flights. Now as a major player, they’ve found their place and give an impressive show, showcasing 2014’s astounding Lost In The Dream, for the festival’s final hurrah.

End Of The Road’s 10^th birthday celebration was, as expected, a huge success. The intimate but expansive gathering is a family-friendly treat and a musical highlight of the year. The sound on each stage is incredible, and most importantly unlike other festivals, the 4 stages are close enough that you’re only ever be a few minutes’ walk between each (via a bar with short queues), meaning you can really focus on enjoying some great music, in an idyllic setting. Here’s to another 10 years.