Days Are Gone
Haim
Release date: 30th September 2013
Available to stream on Spotify - see Spotify player below
The hype surrounding Haim and the release of their first full length studio album has been huge. Since they released EP 'Forever' almost a year ago in October 2012, their fan base has been increasing and critics have been singing their praises. The buzz they've generated has come from their high intensity live sets and their excellent early releases - all of which are included on this album. They have played a selection of UK festivals over the summer and a headline slot at iTunes festival in September, rubbing shoulders with the likes of Queens of the Stone Age, Arctic Monkeys and Primal Scream - proving Haim's reach and appeal.
The three sisters from L.A. have been playing music together since they could hold instruments (a typical musical family story) and are a close knit bunch. This is most noticeable in their tight live performances, where their vocal harmonies are faultless. Those vocal harmonies are a major theme on the album and track number one 'Falling' illustrates this well. The vocals are the major theme of the track. The production gives them a soft finish, but it is the almost call and answer styled harmonies in the chorus that are Haim's signature. The lyrics sing of resilience and strength - 'never look back, never give up'. The song grows around the mid point with an excellent guitar solo and distant 80's synth scales give 'Falling' a good mix between pop-rock and R'n'B. The pop vocal harmonies continue on previously released track 'Forever' This track is driven by a strong drum beat and mellow synth that grows into each chorus. This is then joined by spiky guitar, before being muted for the verse again. The vocal harmonies then power the song onto its conclusion - this is the track that started the Haim hype machine and it remains a highlight of the album.
Next track is single 'The Wire'. This is again dominated by a strong drum beat and bass line. This and the faultless vocals pull you in to the song as it progresses. Haim have worked with some top producers on this album. Ariel Rechtshaid has produced material for Vampire Weekend and Usher in the past, and James Ford who has worked with Arctic Monkeys and Florence + The Machine. Their efforts are evident on this track and it feels much more production heavy. They synthesised strings that come in towards the end of the song sound tacky but then again this was a single and it has been made deliberately 'poppy' I feel. In contrast, 'If I Could Change Your Mind' has a much more darker tone, which fits their voices well. The lyrics in the song describe days gone by: 'memories take me back to all of the wildest times' and are have a reflective theme throughout. From this song you really feel Haim's 80s influences. The tingly percussion sounding synth provides a nice mix between 80s pop and modern day soft rock and suits this song well.
The 80s themes are felt again in 'Honey & I'. The song starts with a rising drum beat and soft guitar over a regulated bass line which drives the song. The lyrics again sing of past experiences of love but long to the future. The song carries on at a slow pace and then builds to a satisfying crescendo of the chorus which really lifts the song. Again, the vocals use their trademark harmonies.
Personally 'Don't Save Me' is a highlight of the album. It encapsulates everything Haim has to offer. It's a catchy pop song with those famous vocals harmonies and you just can't help nodding along to the song. The drums and bass are tight, and the synth provides a good backdrop. It's clear to see why this was chosen as an early single.
The album's title track was co-written by solo artist Jessie Ware, another artist who has fantastic rise to success recently. And they mix well together. The song is again dominated by a thumping bass line and staccato synth. As the title 'Days Are Gone' suggests, the lyrics are about the past and starting over: 'You can have my past, I'll never get that back, I'm moving on, cause those days are gone'. Even with Jessie Ware's help on the song, Haim still hang on to their unique sound, with the harmonies working well again.
With 'My Song 5', you are thrown into R'n'B mode with an electro synth and drum beat and those famous harmonies layered on top. Then out of no where comes a gritty guitar solo punching into the next verse, and then we've switched to a falsetto part with the vocals pushed to the limit. Although I love the guitar on this track, its just too heavy on the production again, similar to 'The Wire'.
The final 3 tracks give the album a sombre, moody finish. Ballad 'Go Slow' has thoughtful lyrics and a slow melody. Those vocal harmonies are again a driving force, with the call and answer technique being a major fixture. The highlight of the track is the single syllable build up to the chorus. 'Let Me Go' continues the sombre mood and is very brooding. It is again driven by the strong drum beat that emphasise the lyrics. This beat and bass line are again the main force in the song. These parts build to a final guitar solo which would not sound out of place on a Fleetwood Mac album - another of Haim's influences and a similarity that has been drawn frequent times. For this 'Let Me Go' is another highlight. 'Running If You Call My Name' rounds off the album, and continues the sombre mood with its dusky melody.
The album is like Haim themselves: cool and slick. Somehow the album manages to appear polished but still raw and bare - probably down to the rhythm section and harmonising vocals driving most of the tracks on the album. Overall I believe the album is a success but I think that Haim have been let down by their production team on some of the tracks which sound over produced. Haim have a bright and exciting future ahead of them.
In addition to the standard tracks on the album, there are some excellent remixes available. Particularly the two different remixes of 'Falling' by Duke Dumont and Psychmagik, these give an already successful track new reach and are dance floor hits. If certainly worth tracking these down.
Next track is single 'The Wire'. This is again dominated by a strong drum beat and bass line. This and the faultless vocals pull you in to the song as it progresses. Haim have worked with some top producers on this album. Ariel Rechtshaid has produced material for Vampire Weekend and Usher in the past, and James Ford who has worked with Arctic Monkeys and Florence + The Machine. Their efforts are evident on this track and it feels much more production heavy. They synthesised strings that come in towards the end of the song sound tacky but then again this was a single and it has been made deliberately 'poppy' I feel. In contrast, 'If I Could Change Your Mind' has a much more darker tone, which fits their voices well. The lyrics in the song describe days gone by: 'memories take me back to all of the wildest times' and are have a reflective theme throughout. From this song you really feel Haim's 80s influences. The tingly percussion sounding synth provides a nice mix between 80s pop and modern day soft rock and suits this song well.
The 80s themes are felt again in 'Honey & I'. The song starts with a rising drum beat and soft guitar over a regulated bass line which drives the song. The lyrics again sing of past experiences of love but long to the future. The song carries on at a slow pace and then builds to a satisfying crescendo of the chorus which really lifts the song. Again, the vocals use their trademark harmonies.
Personally 'Don't Save Me' is a highlight of the album. It encapsulates everything Haim has to offer. It's a catchy pop song with those famous vocals harmonies and you just can't help nodding along to the song. The drums and bass are tight, and the synth provides a good backdrop. It's clear to see why this was chosen as an early single.
The album's title track was co-written by solo artist Jessie Ware, another artist who has fantastic rise to success recently. And they mix well together. The song is again dominated by a thumping bass line and staccato synth. As the title 'Days Are Gone' suggests, the lyrics are about the past and starting over: 'You can have my past, I'll never get that back, I'm moving on, cause those days are gone'. Even with Jessie Ware's help on the song, Haim still hang on to their unique sound, with the harmonies working well again.
With 'My Song 5', you are thrown into R'n'B mode with an electro synth and drum beat and those famous harmonies layered on top. Then out of no where comes a gritty guitar solo punching into the next verse, and then we've switched to a falsetto part with the vocals pushed to the limit. Although I love the guitar on this track, its just too heavy on the production again, similar to 'The Wire'.
The final 3 tracks give the album a sombre, moody finish. Ballad 'Go Slow' has thoughtful lyrics and a slow melody. Those vocal harmonies are again a driving force, with the call and answer technique being a major fixture. The highlight of the track is the single syllable build up to the chorus. 'Let Me Go' continues the sombre mood and is very brooding. It is again driven by the strong drum beat that emphasise the lyrics. This beat and bass line are again the main force in the song. These parts build to a final guitar solo which would not sound out of place on a Fleetwood Mac album - another of Haim's influences and a similarity that has been drawn frequent times. For this 'Let Me Go' is another highlight. 'Running If You Call My Name' rounds off the album, and continues the sombre mood with its dusky melody.
The album is like Haim themselves: cool and slick. Somehow the album manages to appear polished but still raw and bare - probably down to the rhythm section and harmonising vocals driving most of the tracks on the album. Overall I believe the album is a success but I think that Haim have been let down by their production team on some of the tracks which sound over produced. Haim have a bright and exciting future ahead of them.
In addition to the standard tracks on the album, there are some excellent remixes available. Particularly the two different remixes of 'Falling' by Duke Dumont and Psychmagik, these give an already successful track new reach and are dance floor hits. If certainly worth tracking these down.
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