Haim — “Little of Your Love” (SNL) @HAIMtheband

Haim performed the catchy lead single “Want You Back” (track one from Something To Tell You) last night on SNL, along with a live debut of the album’s third track, “Little of Your Love.” That song uses strings to soar effectively into its final minute, over top of which Danielle gets to have fun with a tasty guitar solo:

Haim: “Right Now” (Live) & “Want You Back” @HAIMtheband

For me, the Haim sisters are even reminiscent of stratospheric artists like Peter Gabriel or Steven Wilson at their most thrilling moments of pure pop perfection. No wonder, when their personal playlist unsurprisingly includes the likes of Kate Bush and ELO.

With what promises to be one of the best albums of 2017, the supremely talented Haim will return to the charts by releasing Something To Tell You on July 7.

The appropriately titled track “Want You Back” is already now available. Not to be missed is also a preview of the track “Right Now” from that same forthcoming album. Here it is, superbly performed, as a live, one-take version in the studio, filmed by Paul Thomas Anderson:

Haim will be live on SNL this weekend. Here’s how good they were last time, when they played my favorite track from 2013’s Days Are Gone, “The Wire”:

I’ve wanted them back for a long time, so I’m really looking forward to a new, full-length album from Danielle, Alana, and Este. It’s going to be a great summer!

Born to make music, check out this window on the band’s nice life story:

By the way, if you think you have them pegged as a pop band, think again. It never makes sense to put talented people in a box. Here’s proof that Haim can rock hard with the best of them:

Days Are Gone (Best of 2013 — Part 13)

With this post, I now conclude my Top Thirteen Albums of 2013. Maybe, because earlier on I had invoked Black Sabbath, you were expecting me to nominate their album “13” for my #13 slot. (Melinda Selmys, after all, noted of their video for “God Is Dead?” that it is “the most Christian music video of the year.”) Well, if that is what you were expecting, then I have successfully faked you out. Because here is my twist ending…

In my final #13 slot, I give you, not heavy metal, but the pop perfection of:


I choose Haim’s pop masterpiece “Days Gone By” (which iTunes currently has on sale for a limited time) because I never want to become complacent as a citizen of the republic of Progarchy. Sure, we listen to prog because we are able to get, from prog, so much more than we usually get from the mainstream musical venues.

But sometimes the big record companies actually do get things right. (I mean, The Beatles weren’t so bad, were they?) So, it behooves Progarchy to recognize excellence wherever it may arise. (For me, that is the true spirit of prog. Devotion and dedication to excellence, in all forms. Which will, of course, take you in time towards all our favorite prog bands.)

Therefore, since this is the last day of the year, why not crank up “Days Are Gone” and send out the year on a happy note? There is nothing quite like genuine pop perfection, and anyone with a smile and a sweet tooth has got to love Haim.

2013 has been a great year for music! A big thank you to all my fellow Progarchists for sharing their musical experiences here, thereby expanding my own.

I’ll see you back here on New Year’s Day, when I will reveal the name of my fave EP from 2013 — since EPs do not count towards my Top Ten lists, which (in good prog fashion) I always dedicate to the recognition of the best contributions towards the keeping alive of The Art of the Album.

Everybody Loves Haim


Technically, it may not count as prog, but how can you — or anybody, for that matter — not love it?

Tom Breihan has a superb review over at Stereogum:

It can be tough to describe the music on Days Are Gone because it doesn’t fit neatly into any pre-ordained template, and it doesn’t have much to do with any internet micro-trend that’s currently grubbing attention for itself. There’s nothing remotely indie rock about HAIM. They absolutely leapfrogged the whole crusty-clubs circuit, and they’ll probably be playing near the top of festival bills by next summer. And their sound is lush and incandescent; it sounds expensive. In a less enlightened time, they’d be written off as corporate-pop anointed ones and dismissed accordingly. And they are corporate-pop anointed ones; their debut album is, after all, a major-label affair. But they also seem loose and unguarded and unforced in ways that would’ve made them look like complete aliens at, say, this year’s VMAs.

The one comparison that HAIM keep drawing is Fleetwood Mac, and that one makes sense; there’s plenty of that band’s sweeping studio-rat elegance in what they do. But there’s other stuff at work, too. “The Wire” and “Don’t Save Me” some of the oldies-radio glam-rock shuffle of T. Rex. In Este Haim’s full and rubbery basslines and in the widescreen shuffle of their beats, there’s more than a hint of Off The Wall-era Michael Jackson. The entire history of ’80s soft-rock radio lives in the emotive synth-dissolve of “Go Slow.” And plenty of the influences are newer, too. The sisters love to talk about R&B girl groups like TLC and Destiny’s Child, and when newer bands talk about those groups, they’re usually using the name-checks as a shorthand to describe a sort of lush digital sensuality. But with HAIM, what matters is the vocals themselves — the way one will take the lead and the other two will answer her parts back, or the ways that the voices will rhythmically push the music around into some unexpected places. And then there’s “My Song 5,” which is built on a gut-scraping computerized dubstep fuzz-bass but which never does anything obvious with it. And even when those more recent sounds aren’t apparent, they never sound like hacky ’70s-rock revivalists. Those older sounds, for them, are just a means, never an end unto themselves.

Their sound might be a hard thing to pin down, but it’s just impossibly easy to enjoy. Consider “Falling,” which sounded great at first and which has now grown on me to the point where I think it’s one of the year’s fullest and most accomplished pop songs. It’s an intricate song: The primly snappy backing vocals, the liquid rhythm section, the expertly-placed wafts of keyboard, the bluesily tossed-off guitar leads. But if you aren’t paying close attention, you aren’t noticing all the small and minute decisions that go into a song like this. You’re letting it wash over you, breathing it in, feeling the way it sighs and flutters. It’s a product of countless hours of tinkering and arrangement and studio work, and yet it sounds effortless. So does the rest of the album. It’s not an album that tries to push pop music forward or to carve out new subgenre space of its own. Instead, it’s an album that uses the entire history of pop music as a playground where none of the equipment is off-limits.