‘Girl Power’ seems to be something of an underlying theme with “ Don’t Save Me”, clearly asserting that women simply do not need men to save them, on the surface however, “Don’t Save Me” lyrically is ‘about a boy’ whose love is not strong enough to save their relationship. Lyrically, “The Wire” is an excellently benevolent, albeit smug, tale of a romance gone south with the Haim sisters offering scant consolation to their ex-love interest with lyrics such as, “ I know I know I know I know // That you’re gonna be okay anyway“. Combined by their flawless harmonies, “The Wire” sonically drags the listener back to a time of showgirls and synchronized high kicks and this jaunt back into the past could be referencing the high standard American women in the 50’s had to live up to whilst cheerily being the American dream.
A particularly power track from the Days Are Gone record is “ The Wire” which starts with a particularly 50’s back and forth instrumental progression, rocking between Haim’s original vibes, a dated rockabilly guitar and something playful and incandescent brought by the claps. Their newly released debut album Days Are Gone, which debuted at #1 on the UK albums chart over the weekend, is an eclectic mix of tracks from their 2012 EP Forever, sprinkled with fresh offerings. Their unique brand of raw almost alien harmonies accompanied by warlike tribal beats has captured the attention of BBC Radio 1 which led to them being the first female group endowed with the coveted title of ‘BBC Sound of…’ earlier this year, a prestigious title which predicted a fantastic year for the sibling trio – one which they have lived up to completely. They have been together since birth but fully grew into their gift in 2006 which flowered into success during 2012 after performances at the SXSW Festival, supporting the likes of Florence and the Machine, Ke$ha and Edward Sharpe & the Magnetic Zeros and getting signed to Polydor Records in the UK. This fascinating specimen is called Haim. The best moments here, such as the bookends "Falling" and "Running If You Call My Name," would be great pop songs regardless of when they sound like they're from.Ī debut album that could pass for a greatest-hits collection, Days Are Gone will provide musical comfort food for some, and possibly an introduction to irony-free pop for others.It’s common knowledge family is intertwined by blood but when those ties are interwoven by music and threaded through sisterhood, the end result is a trio of ethereal sirens bouncing off one another with impeccable timing. Still, it's the writing that ultimately prevents Days Are Gone from being just an extremely accurate exercise in nostalgia. This song, along with much of Days Are Gone, features production by Ariel Rechtshaid, whose work with Usher and Vampire Weekend proves he has the breadth to help Haim unite their ideas into a coherent sound. Over the course of the album, Haim captures and explores the nuances within the styles they're reviving: there's the sweet soft rock of "Honey & I" or "Don't Save Me," the title track's tight synth-pop, and the dark, driving territory of "Let Me Go" and "My Song 5," which, with its slinky melody and hard-hitting beats, makes the most of the trio's much-touted R&B influences.
#Haim days are gone album full
The hard work paid off: Days Are Gone is full of should-be hits like "The Wire," which boasts a big, fist-pumping beat and sassy guitar licks (they can only be called that).Ĭompared to the thin voices of so many 2010s pop stars, singer Danielle Haim's rich alto only adds to the group's throwback feel, but like her sisters, she's remarkably versatile. Not that Haim's approach is unstudied the trio obviously did their homework to revive and embody these sounds so perfectly, and it took them five years of recording and re-recording these songs until they had just the right mix of smoothness and immediacy. Likewise, these songs revel in that era's sometimes-cheesy flourishes without a trace of irony, and the gated drums, gleaming synths, and muted guitars that dominate Days Are Gone haven't sounded so good since their original heyday. While many of their contemporaries engaged in a contest to find the most obscure influences, and '80s revivalists sucked synth-pop and new wave dry, the Haim sisters dug up the decade's biggest, poppiest sounds and fashioned a captivating debut album out of them.ĭays Are Gone sounds all the more unusual precisely because it's so mainstream a list of their influences - Stevie Nicks, Phil Collins, En Vogue, Shania Twain - looks like a glance at the Top 40 from about 25 years before the album's release. There is nothing cool about Haim's music, and that's why it's so refreshing.
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