Wren Hinds

From his roots on the east coast of South Africa, Wren Hinds has quietly become one of the southern hemisphere's most distinctive songwriting voices. Blending folk, alternative and cinematic influences, his work is defined by understated arrangements, evocative melodies and songs that explore memory, place, resilience and the complexity of being human.

Raised in a deeply creative family, Wren developed an early fascination with recording and production in his father's home studio. That curiosity evolved into a body of work that is both intimate and expansive, balancing meticulous craftsmanship with an instinctive sense of atmosphere.

Following the independent releases of Tragedy Hill, A Thousand Hearts and A Child's Chant for the New Millennium, Wren signed with UK label Bella Union, who released his catalogue internationally before unveiling his fourth album, Don't Die in the Bundu. The record received widespread critical acclaim, with MOJO describing it as "a subtle form of intensity", while Record Collector, Uncut and NARC praised its lyrical restraint, rich arrangements and emotional depth.

Alongside his recording career, Wren has established himself as a versatile composer and producer whose music naturally lends itself to film, television and visual storytelling. His compositions are rich in texture yet emotionally direct, equally at home as intimate songwriter pieces or expansive instrumental works.

Whether writing for his own records or collaborating with others, Wren Hinds approaches every song with the same philosophy: to create music that feels honest, timeless and emotionally resonant. His growing catalogue continues to attract audiences well beyond South Africa, establishing him as one of the country's most compelling contemporary songwriters.


Don’t Die In The Bundu

“The title – Hinds was once held at gunpoint – suggests high drama, but from voice to arrangements the South African’s fourth LP is low-key and languid, embodied more by the song title Gilded By The Sun, Silvered By The Moon. Nor does Don’t Die In The Bundu bear any audible trace of Hinds’s Kwazulu-Natal homeland, just that of his musician father’s harmony-rich stash of records (including Everly and Louvin brothers) that suffuse these hushed ballads (think Villagers, Hiss Golden Messenger, Sufjan Stevens) with lyrics that dwell on the impact of Hinds’s first child. Yet a subtle form of intensity emerges; likewise, a hint of the landscape’s heat-haze in The Garden’s delicate layers of bowed guitar, Indian harp and Japanese flute, over which Hinds dreams, wonders and worries, a hostage to whatever life throws at you.” Mojo ★★★★

“A restrained gem that evokes comparison to the gentle, dreamy songs of Jack Johnson or José González... Poetic songs about recent fatherhood and remaining resilient in troubled times... Japanese flute and Indian harp add dappled textures, and there are subtle synth washes, but the arrangements never obstruct the compelling simplicity.” Uncut – 7/10

“A gently beguiling set of sweet, soft hymns to hope in choppy times. Restrained settings uphold the intimate strengths of Hinds’ songwriting, with the limpid psychedelia of ‘Dream State’ adding mood and colour.”
Record Collector ★★★★

“Hinds has mastered the rare art of creating albums that are simultaneously full-bodied and subtle.” NARC Magazine ★★★★★





Contact

For publishing and licensing enquiries contact:

Mail: faberalt@fabermusic.com