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Listen, I think you’re way off base here, Klinger. Mendelsohn: That crystal in your hand should start blinking any day now. But knowing that people are nostalgic for my awkward teenage years just makes me feel old, and apparently a little cranky. I’m sure Baby Boomers would openly mock the 1970s nostalgia of, say, the Beastie Boys’ Paul’s Boutique. And I certainly understand the impulse to yearn for the time that you think you just missed. I understand, having worked with a number of millennials (most of whom are well-meaning Americans with a solid work ethic and excellent personal hygiene), that many of today’s youth are in thrall to go-go ’80s and its various accouterments. To quote the Hold Steady’s Craig Finn, I survived the ’80s one time already - and I don’t recall it all that fondly.ĭon’t get me wrong. After listening to Days Are Gone, it’s true that I have songs stuck in my head all day, but those songs are “Tell It to My Heart” and “Self Control” and a mess of other songs I keep hearing on the ’80s station. Because it’s a bafflement to me that anyone could possibly feel enough nostalgia for 1980s pop music to actually attempt to emulate it in their own music. As I listen to Haim, I feel like you’ve accidentally given me an old Laura Branigan cassette or possibly a Taylor Dayne CD to review this week, and I am completely confused. Klinger: I have no idea, Mendelsohn, because all I can think about right now is how impossibly ancient I feel. You told me last week that you like effervescent pop. But before I put down this guilty pleasure, I wanted the chance to subject you to its unrelenting effervescence. I am simultaneously thrilled and sort of disgusted that I am thrilled by this record. It is a studio masterpiece and a rolling call book of nearly every pop music convention to grace the airwaves for the past 40 years. And honestly, it’s hard to dislike this album, Klinger.
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But for the past couple of weeks, it has snowed non-stop in my locale and Days Are Gone is about as close to sunny SoCal as I can get so I will take it. With the addition of youngest sister Alana to the roster, these ladies finally got around to doing the proper rock group thing and released Days Are Gone.įull disclosure time - this is probably the last time I will ever listen to this record. Este and Danielle then went on to spend some time in various other projects including a stint in a prefabricated pop group and various backing roles for a who’s-who in the indie rock world. These young ladies got their start as part of a family rock group, playing cover songs with their parents at local events. Haim, for the uninitiated, are three sisters, Este, Danielle, and Alana, who hail from California and have been playing music together for most of their young lives (the oldest sister, Este, is 27). So when I pulled up the best of 2013 list on, I was pleasantly surprised to find Haim’s Days Are Gone hovering just outside of the top ten. In "Honey and I," you can also hear the vocal inflections of a Canada-imported Lady of the Canyon, Joni Mitchell.Mendelsohn: It’s no secret that I have a soft spot in my heart (or head) for well-executed pop music. Your notion of pop-rock may derive from American manufactured products like The Monkees and The Archies, or from British acts like T-Rex and The Sweet, from whom HAIM probably extracted the thumping beat of "The Wire." I'd suggest that these Southern California sisters are tapping into that geographical area for precedents - anything from the '60s harmonies of The Mamas and the Papas to the '80s pop-punk of The Bangles. Not that questions of being musical lightweights are going to be resolved for some listeners, because HAIM works in that most vexed and scorned of genres: pop-rock. Here ends the questions-of-authenticity part of the review. Each is a multi-instrumentalist each sings. The three HAIM sisters are in their 20s with plenty of experience, including years spent playing in a band with their parents. First Listen First Listen: HAIM, 'Days Are Gone'