Bands with siblings seem to be a bewitchingly potent blueprint for phenomenal musical icons.Īnd yet, the trio feel like the siblings you know down the street – worlds apart in disposition, constantly bickering, yet fiercely protective of each other. The Gibb brothers ( Bee Gees), are ranked among the best selling music artistes of all time, and The Everly Brothers spawned a multitude of imitators. Peruse the history of some of the most celebrated bands and you’ll find the erratic relationship of the Gallagher brothers (the driving force behind Oasis) or the dynamic, almost telepathic stage chemistry in the Van Halen brothers. We’re certainly no strangers to sibling bands. credit: Filled with a kookiness that’s likeable and infectious, the sisters are certainly charming, overflowing and idiosyncratic. “Falling”, “Forever” and “The Wire”, the first 3 songs, carry a flightiness that commands a surprisingly instant appeal, a testament of Haim’s ability to churn out catchy tunes and unforgettable hooks. It is, at its core, an unmistakable nod to their personal luminaries Destiny’s Child and contemporary influence Jessie Ware.Īt first impression, the collection has more than it’s fair share of radio-friendly singles. Produced by James Ford, the man behind the mixer for Arctic Monkey’s Humbug and Florence and the Machine’s Ceremonials, Days Are Gone is a delightful concoction of R&B, pop and indie. However, merely writing them off as an uninspired duplicate of the veteran rockers does them considerable injustice, as their latest effort is much more than just a conglomeration of 70s inspired soft rock.
The current lineup has shed Mom and Dad (which must be a relief for the 20-somethings) and has been lauded by the likes of Brit singer-songwriter Ellie Goulding (who topped the same BBC industry poll 3 years earlier) as “interesting, different and really talented”.ĭays Are Gone, the inaugural full-length by the indie pop band from California, has been recurrently compared to the 45-million-copies-selling Rumours by Fleetwood Mac, and rightly so.
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Comprising American sisters Este, Danielle and Anala Haim and drummer Dash Hutton, the sisters’ musical roots can be traced back to a family band in their adolescence (RockinHaim). Well, to be fair, they had no album then. 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 Haim popped up on the indie radar as BBC’s Sound of 2013 winners and achieved what Adele managed in 2008, the curiosity of many was piqued and eyebrows were raised. 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.
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