Your basket is empty

Categories :

Similar artists

Albums

From
HI-RES£15.49
CD£11.49

Alternative & Indie - Released June 26, 2020 | Polydor Records

Hi-Res
When their lengthy tour supporting Something to Tell You ended, the women of HAIM found themselves in inescapable crises. Alana's best friend died; Este struggled with her health- and career-threatening Type 1 diabetes; and Danielle had the double whammy of post-tour depression and her partner Ariel Rechtshaid's cancer diagnosis. They confronted these issues head-on in their life and in their music, and the directness -- and genuine emotion -- of Women in Music Pt. III adds welcome depth to their catchy, genre-mashing songs. On "The Steps," a portrait of partners who go from crashing into each other to taking it all in stride, the roaring guitar lick and honeyed harmonies can't hide the poignancy when Danielle sings "I can't understand/Why you don't understand me." "Don't Wanna," a slick blend of warm '70s atmosphere and peppy brass hits straight out of late-'80s pop, is just as vulnerable as "FUBT," which strips its fears and devotion down to just Danielle's voice and guitar. HAIM document every step of their journey on Women in Music Pt. III with an unflinching honesty that reaps rich rewards. They sound intimately familiar with depression in all its states, whether they're turning away from the wearying, pointless challenge to prove themselves to men in media and the music industry on "Man from the Magazine," sinking into isolation on the oddly comforting standout "I Know Alone," or emerging from the darkness on "Now I'm in It," a slow-building anthem that could be the album's statement of purpose. Women in Music Pt. III's creative process echoes its feeling of growing agency. For the first time, Danielle took on production duties alongside Rechtshaid and Rostam Batmanglij, and impressionistic touches like the seagulls and alarm clocks that embellish "Up from a Dream" or the way the guitar and saxophones drift through "Los Angeles" echo Batmanglij's dreamy musical memoir Half-Light. HAIM let each song and each mood be exactly what it needs to be, making for a collection of moments that are more interesting and real than if they'd attempted a more uniform sound across the album. The band's love for the '90s is as strong as ever on the Roxette-like "Another Try" and "3 AM"'s flirty homage to the era's R&B. Their singer/songwriter and folk-pop roots get their due on "Hallelujah" and the gorgeous "Leaning on You," a pair of songs that unite the sisters' voices and struggles in perfect harmony. The lightness HAIM use to combat the heavy things going on in their lives reaches its peak at the album's end: Written in the wake of Rechtshaid's diagnosis, "Summer Girl," taps into memories of the good times to get through the bad ones and borrows the effortlessness of Lou Reed's "Walk on the Wild Side," but trades that song's aloofness for unconditional love. Sprawling and intimate, breezy and affecting, Women in Music Pt. III is a low-key triumph. © Heather Phares /TiVo
From
HI-RES£18.99
CD£13.49

Alternative & Indie - Released July 7, 2017 | Polydor Records

Hi-Res
If we're being perfectly honest, listening to Haim's music is like drinking a cold glass of water. No surprises, but always refreshing. Four years after Days Are Gone, the sisters Este, Danielle and Alana have broken their silence with a second album, which they wrote and produced themselves. It's a way of declaring that behind the massive pop machine that they represent, there are real auteurs, real musicians. And you've got to admit, every phrase, every melody, every solo, every chorus of Something to Tell You has been meticulously polished. The alloy of XXL pop, soft rock and 90s music works perfectly. Haim is not there to revolutionise the music of our times: they just want to create killer choruses and catchy melodies. And these are melodies that will keep you humming along, be it in the shower or in a stadium... This is a work that makes these three Californian sisters worthy heirs to Fleetwood Mac, one of their inspirations...© CM/Qobuz
From
CD£14.99

Rock - Released January 1, 2013 | Polydor Records

Distinctions 5/6 de Magic - Pitchfork: Best New Music
There is nothing cool about Haim's music, and that's why it's so refreshing. While many of their contemporaries engaged in a contest to find the most obscure influences, and '80s revivalists sucked synth-pop and new wave dry, the Haim sisters dug up the decade's biggest, poppiest sounds and fashioned a captivating debut album out of them. Days Are Gone sounds all the more unusual precisely because it's so mainstream; a list of their influences -- Stevie Nicks, Phil Collins, En Vogue, Shania Twain -- looks like a glance at the Top 40 from about 25 years before the album's release. Likewise, these songs revel in that era's sometimes-cheesy flourishes without a trace of irony, and the gated drums, gleaming synths, and muted guitars that dominate Days Are Gone haven't sounded so good since their original heyday. Not that Haim's approach is unstudied; the trio obviously did their homework to revive and embody these sounds so perfectly, and it took them five years of recording and re-recording these songs until they had just the right mix of smoothness and immediacy. The hard work paid off: Days Are Gone is full of should-be hits like "The Wire," which boasts a big, fist-pumping beat and sassy guitar licks (they can only be called that). Compared to the thin voices of so many 2010s pop stars, singer Danielle Haim's rich alto only adds to the group's throwback feel, but like her sisters, she's remarkably versatile. Over the course of the album, Haim captures and explores the nuances within the styles they're reviving: there's the sweet soft rock of "Honey & I" or "Don't Save Me," the title track's tight synth-pop, and the dark, driving territory of "Let Me Go" and "My Song 5," which, with its slinky melody and hard-hitting beats, makes the most of the trio's much-touted R&B influences. This song, along with much of Days Are Gone, features production by Ariel Rechtshaid, whose work with Usher and Vampire Weekend proves he has the breadth to help Haim unite their ideas into a coherent sound. Still, it's the writing that ultimately prevents Days Are Gone from being just an extremely accurate exercise in nostalgia. The best moments here, such as the bookends "Falling" and "Running If You Call My Name," would be great pop songs regardless of when they sound like they're from. A debut album that could pass for a greatest-hits collection, Days Are Gone will provide musical comfort food for some, and possibly an introduction to irony-free pop for others. © Heather Phares /TiVo
From
HI-RES£10.99
CD£7.99

Alternative & Indie - Released September 4, 2020 | Polydor Records

Hi-Res
From
CD£2.49

Alternative & Indie - Released October 30, 2019 | Polydor Records

From
CD£1.49

Alternative & Indie - Released July 31, 2019 | Polydor Records

From
HI-RES£2.49
CD£1.49

Alternative & Indie - Released November 18, 2019 | Polydor Records

Hi-Res
From
HI-RES£2.49
CD£1.49

Alternative & Indie - Released July 16, 2021 | Polydor Records

Hi-Res
From
CD£1.49
3am

Alternative & Indie - Released December 18, 2020 | Polydor Records

From
CD£1.49

Alternative & Indie - Released December 8, 2017 | Polydor Records

From
CD£3.49

Rock - Released January 1, 2013 | Polydor Records

From
CD£12.49

Rock - Released January 1, 2013 | Polydor Records

Distinctions Pitchfork: Best New Music
There is nothing cool about Haim's music, and that's why it's so refreshing. While many of their contemporaries engaged in a contest to find the most obscure influences, and '80s revivalists sucked synth-pop and new wave dry, the Haim sisters dug up the decade's biggest, poppiest sounds and fashioned a captivating debut album out of them. Days Are Gone sounds all the more unusual precisely because it's so mainstream; a list of their influences -- Stevie Nicks, Phil Collins, En Vogue, Shania Twain -- looks like a glance at the Top 40 from about 25 years before the album's release. Likewise, these songs revel in that era's sometimes-cheesy flourishes without a trace of irony, and the gated drums, gleaming synths, and muted guitars that dominate Days Are Gone haven't sounded so good since their original heyday. Not that Haim's approach is unstudied; the trio obviously did their homework to revive and embody these sounds so perfectly, and it took them five years of recording and re-recording these songs until they had just the right mix of smoothness and immediacy. The hard work paid off: Days Are Gone is full of should-be hits like "The Wire," which boasts a big, fist-pumping beat and sassy guitar licks (they can only be called that). Compared to the thin voices of so many 2010s pop stars, singer Danielle Haim's rich alto only adds to the group's throwback feel, but like her sisters, she's remarkably versatile. Over the course of the album, Haim captures and explores the nuances within the styles they're reviving: there's the sweet soft rock of "Honey & I" or "Don't Save Me," the title track's tight synth-pop, and the dark, driving territory of "Let Me Go" and "My Song 5," which, with its slinky melody and hard-hitting beats, makes the most of the trio's much-touted R&B influences. This song, along with much of Days Are Gone, features production by Ariel Rechtshaid, whose work with Usher and Vampire Weekend proves he has the breadth to help Haim unite their ideas into a coherent sound. Still, it's the writing that ultimately prevents Days Are Gone from being just an extremely accurate exercise in nostalgia. The best moments here, such as the bookends "Falling" and "Running If You Call My Name," would be great pop songs regardless of when they sound like they're from. A debut album that could pass for a greatest-hits collection, Days Are Gone will provide musical comfort food for some, and possibly an introduction to irony-free pop for others. © Heather Phares /TiVo
From
HI-RES£2.49
CD£1.49

Alternative & Indie - Released March 3, 2020 | Polydor Records

Hi-Res
From
CD£1.49

Alternative & Indie - Released October 13, 2017 | Polydor Records

From
CD£2.99

Rock - Released January 1, 2012 | Polydor Records

From
CD£7.99

Alternative & Indie - Released September 4, 2020 | Polydor Records

From
CD£1.49

Alternative & Indie - Released July 16, 2021 | Polydor Records

From
CD£11.49

Alternative & Indie - Released June 26, 2020 | Polydor Records

When their lengthy tour supporting Something to Tell You ended, the women of HAIM found themselves in inescapable crises. Alana's best friend died; Este struggled with her health- and career-threatening Type 1 diabetes; and Danielle had the double whammy of post-tour depression and her partner Ariel Rechtshaid's cancer diagnosis. They confronted these issues head-on in their life and in their music, and the directness -- and genuine emotion -- of Women in Music Pt. III adds welcome depth to their catchy, genre-mashing songs. On "The Steps," a portrait of partners who go from crashing into each other to taking it all in stride, the roaring guitar lick and honeyed harmonies can't hide the poignancy when Danielle sings "I can't understand/Why you don't understand me." "Don't Wanna," a slick blend of warm '70s atmosphere and peppy brass hits straight out of late-'80s pop, is just as vulnerable as "FUBT," which strips its fears and devotion down to just Danielle's voice and guitar. HAIM document every step of their journey on Women in Music Pt. III with an unflinching honesty that reaps rich rewards. They sound intimately familiar with depression in all its states, whether they're turning away from the wearying, pointless challenge to prove themselves to men in media and the music industry on "Man from the Magazine," sinking into isolation on the oddly comforting standout "I Know Alone," or emerging from the darkness on "Now I'm in It," a slow-building anthem that could be the album's statement of purpose. Women in Music Pt. III's creative process echoes its feeling of growing agency. For the first time, Danielle took on production duties alongside Rechtshaid and Rostam Batmanglij, and impressionistic touches like the seagulls and alarm clocks that embellish "Up from a Dream" or the way the guitar and saxophones drift through "Los Angeles" echo Batmanglij's dreamy musical memoir Half-Light. HAIM let each song and each mood be exactly what it needs to be, making for a collection of moments that are more interesting and real than if they'd attempted a more uniform sound across the album. The band's love for the '90s is as strong as ever on the Roxette-like "Another Try" and "3 AM"'s flirty homage to the era's R&B. Their singer/songwriter and folk-pop roots get their due on "Hallelujah" and the gorgeous "Leaning on You," a pair of songs that unite the sisters' voices and struggles in perfect harmony. The lightness HAIM use to combat the heavy things going on in their lives reaches its peak at the album's end: Written in the wake of Rechtshaid's diagnosis, "Summer Girl," taps into memories of the good times to get through the bad ones and borrows the effortlessness of Lou Reed's "Walk on the Wild Side," but trades that song's aloofness for unconditional love. Sprawling and intimate, breezy and affecting, Women in Music Pt. III is a low-key triumph. © Heather Phares /TiVo
From
CD£12.49

Alternative & Indie - Released July 7, 2017 | Polydor Records

If we're being perfectly honest, listening to Haim's music is like drinking a cold glass of water. No surprises, but always refreshing. Four years after Days Are Gone, the sisters Este, Danielle and Alana have broken their silence with a second album, which they wrote and produced themselves. It's a way of declaring that behind the massive pop machine that they represent, there are real auteurs, real musicians. And you've got to admit, every phrase, every melody, every solo, every chorus of Something to Tell You has been meticulously polished. The alloy of XXL pop, soft rock and 90s music works perfectly. Haim is not there to revolutionise the music of our times: they just want to create killer choruses and catchy melodies. And these are melodies that will keep you humming along, be it in the shower or in a stadium... This is a work that makes these three Californian sisters worthy heirs to Fleetwood Mac, one of their inspirations...© CM/Qobuz
From
CD£3.49

Rock - Released January 1, 2014 | Polydor Records