The LA sisters combine their love for '90s R&B girl groups with their own rock 'n' roll sensibility on their impressive debut
HAIM/ DAYS ARE GONE
Born and raised in a musical family, the three Haim sisters _ Danielle, Este and Alana _ grew up playing in their parents' band, covering classic rock songs. But as the girls got older, they quickly realised that while it was cool to be in a band at such a young age, it wasn't the case when you had to share a tour bus with your parents. So, they decided to team up with drummer Dash Hutton to form their own band, self-explanatorily called Haim. The sound that they adopt is something rather unique, snug between '70s rock 'n' roll and '80s pop-rock with a playful twist of '90s R&B.
Following the release of their excellent debut 2012 EP Forever, the band has generated plenty of well-deserved buzz and went on to top the BBC Sound of 2013 poll. The title track alone packs in so many appealing elements rarely heard in today's pop music _ a throwback pop-rock sound (that's never fuzzy or lo-fi), three-part harmonising and a sparkling Californian attitude that will lift your spirits high.
Haim's long-awaited album Days Are Gone achieves the similar pleasing effect. The album's opening track, Falling, starts with a heartbeat-like bass drum and a subtle bass line. "I give a little into the moment like I'm standing at the edge, I know," frontwoman Danielle coos. And when that uber catchy chorus arrives, it becomes clear why Haim are poised to become a refreshing new voice in the music scene for years to come. Still not convinced? The "Never look back, never give up" tag line will do the trick.
The Wire, Don't Save Me and Days Are Gone feature a groovy bass line, a sassy vibe and an infectious chorus that will get stuck in your head for days. Alana, the youngest of the bunch leads the vocals on the title track, and the song heavily flirts with R&B territory. There's a luscious slice of funk and disco at play, too, which makes the track that much more amazing.
But it's not all bubbly and bouncy _ Haim shows us their slightly quieter side on the dance ballad If I Could Change Your Mind, the jazz-indebted My Song 5 and Go Slow which stands out the most in the vocal harmonies department.
The album's last two songs, Let Me Go and Running If You Call My Name, finish things off on a high note, especially on the latter where the drums get epic when Danielle sings about the aftermath of a heartbreak.
Days Are Gone proves to be a cohesively consistent album. It's admirable how Haim manage to craft their own distinct rock sound by drawing inspiration from pop, R&B, blues, jazz and electro. Their bass lines will make you want to tap your feet along and even break into dance.
The lyrics exude a girl-power attitude without alienating the opposite sex. Haim put all that together with the sisterly charm that will make anyone fall head over heels in love with them.
THE PLAYLIST
Tabasco/ Ter Kid Wa Roo Jak Rak Tee Kei Roo Jak Kae Nai
Lemon Factory's Tabasco are back with a mouthful called Ter Kid Wa Roo Jak Rak Tee Kei Roo Jak Kae Nai (You think you know, but how well do you think you know love). Here, the pop-rock five-piece incorporate enough electronics into their repertoire like stabs of electric guitar and keyboard to keep the song from becoming just more pop-rock fodder. The frontman tells the story of girl who didn't return his love, but is changing her mind because she's heartbroken: "Whenever you hear the words you used to hear/Whenever you want that person back/The one you once loved who won't return."
The Killers (featuring M83)/ Shot at the Night
We blinked and American alt rockers The Killers have already been in the business for a decade. To celebrate their 10th anniversary, the band is releasing Direct Hits, a compilation that includes a handful of chat-toppers such as Mr Brightside, Somebody Told Me and Smile Like You Mean It as well as two new ones. One of which is Shot at the Night, and it's produced by French synthpop maestro Anthony Gonzalez of M83. The song is predictably an atmospheric affair, combining Brandon Flowers' passionate vocals with Gonzalez's flair for grandiose production.
Britney Spears/ Work Bitch
After last year's collaboration with will.i.am, Scream & Shout, pop veteran Spears reunites with the superstar producer on her new single, Work Bitch. While it sounds like a more jacked-up version of the former, Spears' latest offering fares slightly better thanks to its relentless beat, strong bassline and sassy attitude. "You wanna live fancy, live in a big mansion, party in France? You better work bitch!" she dishes out wisdom like a seasoned pro in a not-so-convincing British accent. It's an electropop romp that's sure to turn any dancefloor into a sweaty pandemonium.
Lorde/ Team
The up-and-coming 16-year-old New Zealander has recently made history by becoming the first woman to top Billboard's Alternative Songs chart in almost two decades with the single Royals. Ella Yelich-O'Connor, aka Lorde, continues to make a grand impression with her latest cut, Team, taken from her upcoming album Pure Heroine. "I'm kind of over getting told to throw my hands up in the air, so there/I'm kinda older than I was when I rebelled without a care," she sings over the minimal production, making a rare and sharp commentary on mainstream pop music that's so refreshing to hear.
Best Coast/ I Don't Know How
One of the most well-known figures in indie-pop circles, Best Coast's frontwoman Bethany Cosentino is gearing up to start her own record label, Jewel City, and its first release will be the band's mini album Fade Away. The album's first single, I Don't Know How, starts off slow with Bethany singing alongside the electric guitar strumming before shifting into a punk-pop second half. "You see me everywhere you walk around without a care I don't know how," she repeats until the song finally comes to a satisfying halt.
