The girl featured in lead single "Forever" living under her soured relationship's thumb, but too afraid to cut cord herself, gives way to her antithesis in "The Wire," the girl who didn't know how rosy she had it until she "fumbled it when it came down to the wire." "My Honey & I" unearths the realization that "love wasn't what I once thought it was" - that a girl in her 20s needn't talk wedding rings and forever and fall over herself finding Mr. Haim takes the well-worn theme of twentysomething relations and continually reimagines and reconfigures it with each passing song, inconceivably keeping a weary topic fresh. It all smells a bit gimmicky, I will admit, but bollocks that - Days Are Gone is quite likely the best wax residing in these ears all year. in their 20s they look like they were nicked from an Urban Outfitters catalog they're backed by one of those wicked major labels all their songs conveniently run between the 3:30 and 4:30 mark virtually every one of these songs tells of a relationship gone awry - cue the indie skepticism and cynicism. If you'd like to slap these contents together into a Spotify playlist and pretend you know what Haim sounds like, by all means, have at it if you'd like to hear specifically why Haim's album is prospectively an essential part of your music collection, READ ON! For those who are satisfied to simply evaluate on this fact, here is an including-but-not-limited-to list of Days Are Gone's musical touchstones: The Go-Gos, Heart, Prince's pop eclecticism and multi-instrumentality, Sade, The Black Keys, Christine McVie-fronted Fleetwood Mac, Shania Twain ("Man I Feel Like a Woman"), Rod Stewart ("The Motown Song"), mid-era solo Paul Simon, Destiny's Child, and the atmospheric drama of Canadian indie rock. Haim certainly touches on a number of artists of yore, some obvious and some rather surprising. SO, let's get something else out of the way - they are KINDA right. In fact, one could argue the persistent comparisonism (new word!) levied at Days Are Gone is KINDA sexist - yeah, it's reminiscint of a variety female pop/rock artists because the band consists of three chicks, we get it.
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The popular notions are that Days Are Gone is a Fleetwood Mac body double or that it exclusively panders to Cyndi Lauper-variety '80s music aficianados. I only raise this point because Haim's debut Days Are Gone has often been unfairly dogged by this very tactic, even in its positive reviews. Furthermore, it serves only to propagate the notion that a music critic nowadays is merely a buyer's reference guide - "BUY THIS IF YOU LIKE !" WHEW! //end rant. This lazy criticism primarily conveys itself as the offender vomiting their "music knowledge" all over the page.
Simply "reviewing" an album by pigeonholing it to another artist or another album is bullshit. Let's get something out of the way up front. It was enough to get me to check out HAIM’s music, so here we are.Review Summary: The only problem with Haim right now is nothing to do with right now – when you’ve attained the perfection of Days Are Gone right off the bat, where DO you go next? Hey, don’t worry about tomorrow when you can listen to Days Are Gone today… My feelings on it are…well, I’ve already written over eight hundred words about it for a piece I’ve yet to finish and I still have to edit my thoughts to clarify that I don’t think a visage of PTA hangs high at NAMBLA meetings, but I’m mostly positive towards the film. The guitarist and keyboardist, Alana Haim, starred in Paul Thomas Anderson’s Licorice Pizza, which is up for Best Picture on Sunday, and as I decided to become a huge cinephile over the past year as a joke (I’ll do a lot of things in service of a dumb joke, don’t tempt me), I “had” to watch it so I could see every Best Picture nominee before the ceremony. It’s no longer possible to ignore HAIM, though, and it isn’t just because they’re probably the biggest American band going that has broken out in the past fifteen years. Video can’t be loaded because JavaScript is disabled: HAIM – Forever (Official Music Video) ()
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