When HAIM released ‘Days Are Gone’ in September 2013, they couldn’t have imagined the kaleidoscopic impact it would have on them. The collection of eleven tracks earned instant rave reviews and numerous comparisons – sometimes unfairly – to 70s Californian rock, especially the ‘Rumours’ era sound of Fleetwood Mac (no pressure!!). In the years that have followed the trio has gone onto sellout stadia and festivals across the globe, with a recent headline stint at All Points East and several high-profile Glastonbury sets testament to their popularity in the UK, along with two number-one albums, ‘Days Are Gone’ being the first of these. Alana, the youngest of the sisters even made her Hollywood debut with the lead role in Paul Thomas Anderson’s Licorice Pizza – Anderson has also directed a number of the group’s music videos.
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Hype was high from well before the album’s release with the group winning the prestigious Sound of BBC award in December 2012, marking them as ones to watch in 2013 and boy did they deliver. Fans got a taste of what Haim could deliver with slots supporting the likes of Florence & The Machine in 2012.
Clearly, their debut holds a special place in the sisters’ hearts, recently performing it in full in the more intimate setting of the O2 Shepherds Bush Empire in London, a far cry from the size of venues they’ve become accustomed to playing. While there are many treats to be found on the follow-ups ‘Something To Tell You’ and ‘Women In Music Pt III’, their debut remains a special record that still resonates and pulls you in.
One of the joys of Haim’s music in general is their sense of euphoric energy and exuberance of youth and that sense of dynamism is found in spades across this record from opener ‘Falling’ it’s clear that this is a toe-tapping pop-rock record. Forever retains an irresistible groove showing an array of influences from funk and disco for the siblings, that can be found across their discography.
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Sibling groups always bring an extra ingredient to pop groups and Haim is no exception the gorgeous harmonies from Danielle, Este and Alana, elevate the material and make it infectious, you can tell they are pouring their heart and soul into it and understand each other’s every move. This album and the two since have shown that there is a serious range to Haim’s sound and they can properly rock, this is best exemplified on tracks like ‘The Wire’, which remains one of their standouts and the bluesy riff-heavy ‘My Song 5’.
‘If You Could Change Your Mine’, ‘Honey & I’ and the infectious ‘Don’t Save Me’ still sound phenomenal a decade on full of catchy choruses and hooks, pop perfection, instantly illustrating the trios ear and ability to shift between genres, incorporating elements of funk, pop and rock without breaking a sweat.
While there are numerous nods to the Californian sound that inevitably was an influence on HAIM, they made this album sound like it could have only come from them, taking existing sounds and moulding them into something unique and exhilarating that instantly captivated audiences the world over.
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It’s hard to imagine how exciting the fresh-faced trio were when they burst onto the scene, instantly winning the hearts of critics and audiences alike. Listening back to ‘Days Are Gone’ with knowledge of what was to come, it lays the blueprint for the evolution in their sound and the exciting directions they have gone in.
What is most surprising and revealing is how fresh and vital the album still sounds – it could be released in 2023 and would likely still prove to be a huge hit – and remains on the of the best indie debuts from 2013, a year packed full of stellar records. While their star has risen and they have gone on to work with Taylor Swift, Calvin Harris and other huge names, this record is what cemented HAIM as a force to be reckoned with and it is still a hugely innovative and thrilling listen and will be for generations to come.
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Words: Christopher Connor
