Haim = Meh. Days Are Gone Album Reviewed


The only thing you probably need to know about Haim and their forthcoming album, Days Are Gone, is the first note I wrote about the music in the first part of the first song that I made during my first listen-through: “Music… for… moms.”

Haim is comprised of three young, pretty, ‘hip’ sisters (and some random dude). It seems as though nothing can be written in the perpetual music hype machine without at least mentioning that angle; which in and of itself should be a warning sign that the music is not interesting or good enough to stand on its own without some sort of sideshow schtick. Well, surprise, surprise, surprise… the music is not interesting or good enough to stand on its own. It is pleasant enough. But the bargain bins of record stores everywhere are littered with the bones of bands that were ‘pleasant enough.’ Haim are destined for a future soundtracking CW shows, underperforming teen comedies, and shoe commercials.

Perhaps you might think I’m being too harsh. Perhaps you’re right. But let’s take a look at the second single from the album. This is what they’re leading off with on their website, replete with a cutesy video. Meanwhile, the only difference between this song and a Shania Twain track is a wardrobe purchased from Urban Outfitters.

The rest of the album is offensive in that it does nothing to provoke us as the listener; no feathers are ruffled, no status quos are challenged. What we are left with is a disc full of songs synthesized to a syrupy goo that is wholly radio-ready and wholly interchangeable. Make no mistake: songs will chart and die a very, very slow death on pop radio.

The other single, “Falling” shows a little more creativity than the average pop song. It’s a relatively fun jaunt compared to the rest of the album and it shows off their Wilson Phillips-y harmonies. It is also twice as long as it needs to be and is such a muted saccharine that it will wear thin after a handful of spins:

I dare you to tell me I’m wrong:

While nothing on this album seems genuine in the least, there are some pleasant moments… much in the same way that a credit card commercial can make you smirk. I have a hard time believing that any artist could follow their muse to this sort of a sonic conclusion; if they’re not at least 25% money-motivated or manufactured by a manager/label/marketing company/department store, then I don’t want to live in this world anymore.