Because it has also given their new album a fresh kick of antagonism, as well as the freedom to borrow from all sorts of genres that are usually seen as a threat to rock’s supposed virility: pop, girl-group R&B, even the ghosts of Lilith Fair past. treatment at Guitar Center, or even in heavy rotation on whatever narrow-mindedly macho format constitutes “rock radio” these days.
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The song takes to task a misguided music store clerk who hands Danielle a “starter guitar” (dude, just listen to her shred on the Prince-nodding “_ Up But True”) and a journalist who once asked Este (a bassist known for her over-the-top onstage mugging), “Do you make the same faces in bed?” Danielle sings the chorus as a withering, portentous growl: “I don’t wanna hear ‘it is what it is’ - it was what it was.” Touché.īeing a Woman in Music (as they put it with an implied laugh and a sigh) might not get the sisters V.I.P. The album’s boldest song, though, is one of its most sparsely composed: “Man From the Magazine” layers just Danielle and Alana’s acoustic guitars beneath some sneering commentary about music industry misogyny. The excellent single “The Steps” contrasts rough-hewed guitars with the sisters’ lucid harmonies the slow, sumptuous “Gasoline” conjures a Sheryl Crow song on a handful of weed gummies.
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Every so often they overstuff the arrangements with one too many sonic quirks or spoken-word bridges, but more often than not their risks are rewarding. (Rechtshaid is a prolific, Grammy-winning producer best known for his woozy, shape-shifting sounds he’s been working with Haim off and on since “Days Are Gone.”)ĭanielle co-produced the album along with Rechtshaid and the former Vampire Weekend instrumentalist Rostam Batmanglij. freeway or - even more improbably - a band with two siblings who know you well enough to finish your sentences.ĭanielle, who is Haim’s primary lyricist, experienced a bout of depression after touring behind “Something to Tell You,” partly triggered by the fact that her partner, Ariel Rechtshaid, had been diagnosed with testicular cancer. “Hometown of mine, just got back from the Boulevard, can’t stop crying,” Danielle sings on “Los Angeles.” Like a lot of these songs, it’s an ode to feeling lonely in a crowded place, whether it’s a gridlocked L.A. Here, at last, is what’s been missing from the more hermetic moments of Haim’s sound - ambience, personality.
HAIM DAYS ARE GONE TRACK BY TRACK REVIEW SERIES
III ,” though, begins with a series of sounds that seem to be drifting through an open window: a baritone sax riff, overheard chattering voices, and a kick drum that doesn’t evoke studio perfection as much as somebody down the street banging on a trash can.
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“I Know Alone” was recorded before the lonesome days of social distancing, but its video is an artifact of our months of inertia (“directed remotely by Jake Schreier”): The three sisters stand roughly six feet apart in matching jeans and move, zombielike, through a surreal, stationary dance routine. The song’s tempo, too, is skittish and unpredictable voices and synthesizers drip into each other like bleeding water colors. “We like rhythm,” Danielle said in a 2013 interview, after the release of their debut album, “Days Are Gone.” “It’s all these parts interlocking.”īut something’s up in “I Know Alone,” a moody single from the band’s third album, “Women in Music Pt. It’s a visual trope that lets them have some revisionist fun with girl group iconography, but it’s also a natural extension of their percussive sound. Its most memorable videos feature the trio’s members - the sisters Alana, Danielle and Este Haim - marching in loose lock step with one another, occasionally bursting into playful choreography.
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Haim makes music of forward momentum, soundtracks for strutting confidently away from trouble.