In the lead-up to "WIMPIII's" release, the Haim family has spoken candidly about the hardships that inspired some of the album's heavier subject matter: work exhaustion, health issues and a close friend's death among them. "Sleeping through the day and I dream the same," she sings on the distorted, synth-laden "I Know Alone." "I don’t wanna give too much / I don’t wanna feel at all." ("If you go left and I go right / Hey, maybe that's just life sometimes," lead vocalist Danielle sings on "The Steps.")īut there's also an inherent sadness that runs through the album, with multiple songs including "Now I'm In It" and "I've Been Down" that address middle sister Danielle's struggle with depression. "WIMPIII" – or "wimp-yyy," as the Haim sisters have fondly dubbed the record – tackles familiar themes of hometown blues ("Los Angeles") and relationships gone sour ("Don't Wanna"), with a carefree approach to love that's reflected in the album's upbeat melodies and matter-of-fact lyrics. 'Chromatica' review: Lady Gaga's euphoric dance-pop return is her best in a decadeīreezy first single "Summer Girl" wears its influences most obviously, with warm saxophone and charming "doot-doot-doos" that directly call to mind Lou Reed's "Walk on the Wild Side" (so much so that Reed is credited as a co-writer). As always, there's plenty of the sisters' signature bass licks and guitar shredding, along with less-expected instruments such as congas and accordion. One minute, they're evoking Joni Mitchell (on the acoustic guitar-strumming "Man from the Magazine," a searing rebuke of industry sexism) the next, they're channeling Snoop Dogg by way of Flying Lotus ("3 AM," a woozy kiss-off of booty calls with a throbbing hip-hop beat). III" (out now), Haim continues to expand their musical horizons with some of the group's most experimental and achingly personal songs yet. In their past two albums – "Days Are Gone" and 2017's "Something to Tell You" – sisters Este, Danielle and Alana Haim have confidently dabbled in other genres: from '50s doo wop ( "Little of Your Love") to grimy blues rock ( "My Song 5") to TLC-era R&B ( "Walking Away"). As the album concludes with the slow-building, R&B-esque “Let Me Go” and the dream-like “Running if You Call My Name,” HAIM returns to their 80’s and 90’s roots, forming a style of music from neither the past nor present.But if you still think Haim is aping the Fleetwood playbook, then you haven't really been paying attention.
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While the entirety of Days Are Gone incorporates contemporary takes on older influences, the voice modulations and minimalist percussion section featured in “My Song 5” establish a sound more closely related to today’s EDM-driven music scene than any other track. With the vocal melodies and the songwriting featured on tracks like “Honey & I,” however, it’s clear that HAIM are more than just a reincarnation synth-pop party music. Since then, the three sisters have become HAIM, creating music that features a scope of influence greater than their twenty-something years of life experience.ĭays Are Gone opens with a nod to the 80’s, as the album’s first single “Falling” features synth lines and electro-beats originally found in dance-pop acts like Madonna and Michael Jackson. After performing in a family band with their parents at an early age, Danielle and Este spent their teenage years in the teen-pop quintet, The Valli Girls. HAIM’s style of music, particular to no specific era, is something that Este, Danielle, and Alana have developed through a lifetime of playing music together. Their ability to fuse antiquated sounds into a modern context makes Days Are Gone a perfect compilation of old and new. As Days Are Gone progresses throughout its forty-five minutes of California-based indie pop, the varied influences in HAIM’s music are exhibited by the band’s range of instrumentation and skilled songwriting. On their debut album, Days Are Gone, middle-sister Danielle’s experience touring with 2000’s indie-rock icon, Julian Casablancas, stands out as a central influence just as much as the 1990’s R&B scene defined by Destiny’s Child or Stevie Nicks’ 1980’s songwriting.
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The Haim sisters make music that represents a time period that has never happened.