They were bred for this. Well, maybe they were. Somebody ask their parents about that. One thing is for sure though – the three sisters that make up the band Haim have been making music from the very first moment they were able to. It’s certainly no coincidence that each of them plays a different instrument too: Danielle is lead guitar, Este is on bass, and Alana does keyboards/synths. Danielle and Este spent their late teens as part of a cut-and-paste major label band called Valli Girls, where they performed a bunch of songs written by a team of professionals intent on marketing to tweens and teens. Generally disappointed with playing a bunch of songs they didn’t write or necessarily like, the two Haim sisters left the band and went Partridge, complete with mom on lead vocals and dad behind the drum kit. Covers were their specialty, diving into the songbooks of everyone from Stevie Nicks and Fleetwood Mac to Shania Twain and R&B legend Wilson Pickett. Of course it’s tough to make a living as a cover band, let alone a family cover band, and there comes a time in every parent’s life when they need to shove their babies out of the nest and let them try to fly on their own. And so we have Haim in their current incarnation, complete with long-time session drummer Dash Hutton to add percussion into the mix.
The buzz began in early 2012 when the single “Forever” was released as part of a three song EP, which along with some heavily hyped performances at SXSW got them a record deal. Their sound is best classified as a mixture of their influences, largely stemming from their upbringing and cover songs played with their parents. Fleetwood Mac is the name that gets referenced most often, however it’s most apt to say that they’ve got the late 80’s/early 90’s soft pop sound on lock, with dashes of R&B thrown in for good measure. Think Phil Collins and Richard Marx mixed with En Vogue and Kate Bush, and that should give you a decent impression of where they’re coming from. Those names might raise a lot of red flags or conjure bad memories, and there’s the inclination to suspect that they’re really just exploring those genres out of complete irony, however there’s extreme sincerity in every single thing they do. That’s really what sells the listener on the idea and earns the band the right sort of attention and respect in spite of all other factors. The new twists on old familiar sounds are also what make their songs seem very “of the moment.” For example, you could easily say that their latest single “The Wire” is a natural blend of the most classic periods of Shania Twain and The Eagles. Beyond that sonic comparison, the addition of each sister taking their own verse plus those dynamic harmonies really helps to elevate it to a “song of the year”-type status. Make previously strong singles “Falling” and “Forever” your lead-ins, and the start of their debut album Days Are Gone turns into a 1-2-3 knockout punch combo.
Of course it definitely doesn’t end there, in spite of the record’s apparent front-loading. Time and time again, Haim prove that they know their way around a chorus, and that they are happy to exploit or break away from genre conventions whenever it suits their needs. The album’s title track, kicking off the second half of the record, appears to mine a bit from the more urban pop era of Janet Jackson and Paula Abdul, and works out better than you might expect. It’s no wonder the song was co-written by Jessie Ware, who has largely taken over where Jackson and Abdul once reigned. While press materials will tell you that there’s a bit of an R&B influence in Haim’s sound, it doesn’t really show up too often. When it does though, as on “Let Me Go” and “My Song 5,” it adds a deeper layer to what the band is capable of, and makes for some of the most impressive moments on the album. Both songs could be considered an homage to En Vogue, though only “My Song 5” and it’s heavy bass drum/tuba blare truly sets itself apart from the rest of the album. And that’s perfectly fine – most records could use such a great standout. Yet one of the most fascinating things about Days Are Gone is how it manages to unite all of the disparate elements and influences into one cohesive whole of an album. Credit goes to producer du jour Ariel Rechtshaid (Vampire Weekend, Usher) for finding a way to make it work, and to Haim for never sounding anything less than original in spite of obvious nods to the past.
If Days Are Gone has a real weakness, it’s found in the lyrics, which often attempt to turn a breezy melody into something dark and “important.” There’s nothing necessarily wrong with wanting to write about serious issues against a lighthearted pop melody – artists do that all the time. Plus, it’s not like half of their songs are about depression, even though a few are about breakups and the fallout afterwards. Then again, “The Wire” is just about the most upbeat and kind song about the ending of a relationship that you’ll find these days. Where the issues emerge are in the words themselves, and not the topics. While the record has its fair share of creative wordplay, a close look at the lyrical content of most songs unveils a pattern of generalizations and bland phrasing that doesn’t hold up so well under scrutiny. All things considered, calling attention to such an issue given what Haim is out to accomplish can be viewed as petty and nitpicky, which is why it might be best to simply sit back, relax and let the melodies and hooks take you away. That is, essentially, what the sisters are doing on their album cover anyways.
Those in search of something different or innovative in a band probably won’t find Haim and Days Are Gone to their liking. What you do get from this record is a collection of strongly composed and confident songs that grab your attention and refuse to let go. Coming straight out of the gate with such excellence and precision is rather impressive, even if these sisters have been playing music since they became old enough to hold instruments in their hands. This is definitely something they’ve been building towards, and for all practical purposes they knock it out of the park.
Haim – The Wire
Haim – Falling