One of the 2009 long-run debuts in the indie spanish scene was “28”, the concept-album written by a new Madrid-based band called The Good Company. Produced by Ricky Falkner (Standstill, Love of Lesbian), “28” was a record that shooted bullets in a wide range of musical directions. Growing step by step, they had an important echo in the specialized musical press main media, generating pretty good sensations in the independent scene, also supported with very good reviews (Mondo Sonoro, Go Mag, Rockzone, Rock & Roll Nº1, Squire, Jenesaispop, TVE, La2...). That promising stage ended up with appearances in festivals like Eolica, Womad, Heineken Spanish Day Of Music and finally Primavera Sound 2010, which was the turning point that had to be confirmed with a second album. Then, their second music effort, produced by their leader Víctor Ordóñez with Luca Petricca at Reno Studios (Madrid) and mastered by the Grammy-award-winner Tim Young (Elbow, Madonna, The Killers), shows a band facing their sophomore challenge with a brave musical bet, a bit away from their past coordinates. “Dearland” turns out as an high-intense proposal where shaking peak passages and minimal quiet coral moments are continuosly faced, playing with different song estructures away from the standart pop song, that results in the end as a very personal and full of maturity musical effort, including also new elements in their music, like the wind sections played by Germán Arias (Artenara). As Mondosonoro (the leading independent music magazine in Spain) said in a recent review: “The Good Company is the band that everybody who will enter into their music are inevitably going to surrender at”.