goglkids.blogg.se

• #Haim days are gone lyrics mac#

Much of the guitar work on “The Wire” is entirely superfluous, and “Honey & I” takes far too long to really get up a head of steam.įor a first foray into the pop universe (not counting Danielle and Este’s days as members of a Nickelodeon-approved girl group), Days Are Gone is a hell of an opening salvo. As well, multiple listens start to reveal the cracks in even the best songs here. As intriguing as the production gets-the interpolation of a slow trap beat into “My Song 5” is a particularly nice touch-nothing reaches the heights of the album’s first six tracks.

The LP is frontloaded with could be Top 10 hits, leaving the back half of the album awash in afterthoughts. The original hooks on the above songs will have their barbs in you for days on end.ĭays Are Gone follows the pop template to its own undoing, though. And all three women use their tightly wound harmonies effectively and impressively. Lead vocalist Danielle Haim is a constant surprise, taking some of the most unusual roués to squeeze in her discursive lyrics of personal joys and woes. It’s one thing to give these reference points the spotlight, but the goal is to transcend them in some fashion. One song later, they bring in the ruby-colored synths and spirit of Whitney Houston’s “I Wanna Dance With Somebody” to augment their own “If I Could Change Your Mind,” and follow that up with “Honey & I,” which hews as close to the template of Eurythmics classic “Right By Your Side” without becoming an straight cover song.

#Haim days are gone lyrics mac#

2” hybrid then moves into a mixture of late ‘70s/early ‘80s rock touchstones from their beloved Fleetwood Mac to Linda Ronstadt to Billy Squier.

The most recent, and blatant, example is the group’s latest single “The Wire.” It opens with a “Heartache Tonight”/”Rock & Roll, pt.

Lately, though, the feeling has shifted to: “Huh, this song sounds almost exactly like that song.” This is the trouble Robin Thicke and Pharrell have stumbled into with their facsimile of Marvin Gaye’s “Got To Give It Up.” And it’s something that you are going to be hearing about a lot in reference to Days Are Gone, the first LP by all-sister trio HAIM, because these young women don’t try to hide their pastiche approach to songwriting in the slightest. The idea, as far as I understood it, was to imbue in the listener the feeling of “Oh, this song reminds me of that song.” How a band or artist distinguishes the work is in the shading or smoothing over of those imprints. If this is actually it, this is what HAIM is, and HAIM sound like 2013, then we might all be even more fucked than we thought.When knocking a pop song into shape, the finished product is always going to bear the marks of its influences. If there’s something to ‘get’, then we don’t get it. Across Days Are Gone’s 11 tracks, vocals are invariably, unlovably forced, lyrics delivered with dead-eyed artificiality, and for all their harping on being a real, organic band, the whole drab thing sounds like it’s never seen an actual guitar.

And beneath the flawless manes (they’ve got really great hair, it’s miraculous), and the Top Shop faux-Boho schtick, they churn out insipidly obnoxious pop. And that said, this entire act has been so meticulously managed that they became one of the most talked-about acts in the business without most people bothering to listen to a note of their stupid fucking music. Call it misadvice, or a lack of contextual knowledge from the three estate agent’s daughters from LA, but anyone who allows themselves to be that easily manipulated or takes so little interest in the world around them deserves everything they get. We’d like to make this explicitly clear: we couldn’t stand HAIM long before they decided to commit indie suicide by buddying up to our beloved PM.