Šeit māsas dzied par tiem brīdīšiem, kuros neveicas tā, kā gribētos, bet tam pāri ir atziņa, ka tādi ir vienkārši izdzīvojami un visam ir savs laiks. Falling – Albuma pirmā un spēcīgākā dziesma retā dziesma ne par attiecībām. Taču nedaudz čābīgāk iet ar dziesmu tekstiem un to vēstījuma tematiku vairums dziesmu ir par nedaudz vidusskolīgām attiecībām, no kurām dažas ir veiksmīgākas, citas – diezgan viduvējas. Tieši albuma muzikālais skanējums to padara baudāmu, viegli klausāmu un attiecināmu katram tā izmēģinātājam. HAIM ir trio kas, gan vokālā, gan instrumentālā ziņā, rada, nebaidīšos vārda, “stilīgas” 80to gadu vieglā roka un popa dziesmas, kurām HAIM ir trio kas, gan vokālā, gan instrumentālā ziņā, rada, nebaidīšos vārda, “stilīgas” 80to gadu vieglā roka un popa dziesmas, kurām raksturīga tikai instrumentāls pavadījums, kam pāri skan meiteņu 80to gadu čilīgas Brūsa Springstīna stila vai, tikpat labi, tās pašas desmitgades Madonnas melodijas. Musically, it is incredibly interesting and intriguing, and with Haim behind the wheel, letting them drive us through their journey is probably our best decision yet. Days Are Gone isn't anything new lyrically as well, lacking flow and grace at some points but not so much to be a nuisance. It's seems new, but then again the roots and inspirations are still evident, and its influence will be greatly appreciated.
It's Fleetwood Mac's Rumours meets Michael Jackson's Thriller, just to put it explicitly. It's unexpected from a girl band, and yet it's still strangely safe for them as well. With Haim's musical roots, they bring a unique force on this album with this style. It's a cultural stereotype that they will like pop or something along the lines of that and we're all guilty of this form of labeling. It's a cultural stereotype that they will like pop or Ask any girl, not many of them will like rock, some will but in retrospect some won't. A 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.Ask any girl, not many of them will like rock, some will but in retrospect some won't. 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. 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. Compared 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.
#Haim days are gone allmusic 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). 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. Days 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. 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. There is nothing cool about Haim's music, and that's why it's so refreshing.
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