And other than “Save” & “Forever”, the excursions the band does is slowing things down even more, such as the over-produced procession “My Song 5”. The production-over-variety makes the songs largely run together, save for “Don’t Save Me” and the one other rhythmic piece, “Forever”, not unenjoyably, but not exceptionally. The songs aren’t upbeat, but are danceable, with even a nighttime eighties guitar solo in opener “Falling”. The rest of Days Are Gone obviously couldn’t match that, and doesn’t, as the group mostly hews away from their killer rhythm for the kind of female-led synth-pop loss that was coming out of mainstream radio back in the eighties.
HAIM DAYS ARE GONE RAR PLUS
“Don’t Save Me” was such a success thanks to its great catch & rhythm & more, plus the obvious appeal of ladies Alana, Danielle, and Este Haim. Debut full-length Days Are Gone isn’t “Don’t Save Me”, and certainly isn’t ‘indie’, but it isn’t a massive comedown.
Los Angeles sister trio HAIM had that hit this year in “Don’t Save Me”, without much else to their name. Today, one hit can be even bigger thanks to the internet, and that matters even more when people aren’t buying albums (thanks to the internet…). It used to be that such acts burnt-out quick, and was derogatively referred to as ‘one-hit wonders’ later on (or even during their brief fame). Album DescriptionA single single can make a career more than ever these days. See More Your browser does not support the audio element. 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. 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.
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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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