HAIM

Man, how much would that suck, if you were a band and you stumbled on this awesome, awesome sound, and then someone passes you a copy of "Tango in the NIght" and you deflate once you realize that's exactly what you sound like. I mean, it would be awesome, of course! But it'd still be a bummer.

xp i guess you are trying to say you don't connect with either haim or savages? i just don't see how they are comparable groups

other than they have wymmyn with guitars in

― monotony, Wednesday, 18 September 2013 22:00 (Yesterday) Bookmark

i was merely referring to and concurring with the commonplace assertion that both bands are pretty dead-end pastichey. hopefully this transmission reaches you over on planet duh

if I stumbled into sounding like "Seven Wonders" I'd force my manager to buy me an expensive dinner.

I don't think Haim is that pastichey, in the end, esp. compared (for some reason) to Savages, who are truly A+B+C=exactly the sum of its parts.

Was Cut Copy the first on the '80s Mac tip?

Haim's songwriting is pastichey as hell but the production is full of shiny modern details. Savages are about as rote as they come.

"My Song 5" isn't one of the best songs here but it has a sinister creep to it that I find very satisfying.

Was Cut Copy the first on the '80s Mac tip?

"Take Me Over" is more than inspired. It's copied.

i was merely referring to and concurring with the commonplace assertion that both bands are pretty dead-end pastichey. hopefully this transmission reaches you over on planet duh

ok m8 no need to get snarky

fwiw i'd agree with Matt DC in that HAIM represents a confluence of disparate influences whereas savages are more, like, explicitly drawing just from the one scene

"take me over" is also very men at work in addition to being very FM

i was way more into the remixes than the originals as stand-alone songs but packaged together as an album i'm enjoying it quite a bit

Yeah the Duke Dumont remix of Falling is transcendent.

heard club remixes of 'don't save me' quite a bit while out this summer, very good jam that i approve of

when is the lissvik mix of send me down gonna officially come out is my question

idg people who don't think the tunes are up to par. This is the catchiest set of songs I've heard since, I dunno...4?

since you were four

What can I say? Poison was that damn good.

if it gets rough, it's time to get ruFFFFFFFFF

"my honey and i" is sounding real good this morning. hard to imagine another contemporary band coming up with something like this.

holy shit @ the title track!

thanks much for having me relisten to "point of no return" for the first time in over a decade

now listen to a Nu Shooz/Nicks "I Can't Wait" mashup.

last night i watched haim interviews on youtube for about 2 hours

the story of them writing "days are gone" with jessie ware was pretty kewt

didn't know they cowrote it!

They're so personable! It's probably linked above somewhere, but the Nardwuar interview is cute: http://youtu.be/FmOEKvcASB4

oops yeah it def is above, why didn't i ctl+F

I love that they made (?) hats

I've p much listened to this album 1-3 times a day since it leaked.

if the singles left me cold (didn't hate just didn't care) is there any point in giving the album a go? i have limited time right now

There would be worse ways to spend 40 mins. That said, I can't imagine this bring particularly lex-ian save for the title track.

Being*, oops.

Given that you like Tango In The Night-era Fleetwood Mac I'd be quite surprised if you couldn't find something to like in this, but then again I'm really surprised you don't like Falling.

lex, I could see you liking "If I Could Change Your Mind" or "Days Are Gone" if anything on here

just listened to the first half of this again on the way home from uni, very nearly danced down the metro platform to "if i could change your mIIIIiiiiiiiiiIIiiind"

i listened to it. there's nothing WRONG with it i guess but it's sooooooo pastichey, like there is literally no modern twist on a very old sound, and i don't think i have quite enough affection for that sound to have a connection to something that just replicates it - it's so exact that it almost seems automated, all the little hiccups of breath and melody exactly where you expect them.

also tbqh my fleetwood mac/stevie nicks knowledge has a long way to go - i only really know rumours and tusk and a handful of other songs - and i'd rather carry on gradually investigating them

all the little hiccups of breath and melody exactly where you expect them.

one of the things i like best about the album is danielle's surprisingly weird vocal tics and the way she constantly plays with meter, elongating and suffocating words etc - i suppose you could say you expect her to do that by the last few tracks, but she certainly doesn't have a conventional vocal delivery to my ears

lex you gotta hear tango in the night!

Yeah I don't see anything predictable about Danielle's choices - the way her voice keeps changing through a song like Don't Save Me is my favourite thing about the band.

i feel like the vocalist could actually be foregrounded more - didn't get much of a sense of her personality at all. i didn't find anything particularly weird about her delivery though.

There are three vocalists, although two of them sound pretty similar because y'know sisters.

Srsly though the idea that Lex went to Tusk before Tango In The Night is kind of hilarious but really you should listen to the latter immediately and forget about this Haim album for a bit.

Was listening to "The Wire" again and got major Shania vibes. Just me, or was that mentioned above?

tbh guys it's not like it's a big crime to like something that hits a partic retro spot, i just don't get why all the absurdly overstated swivel-eyed flannel about "shiny modern detailed latin freestyle type confluence of disparate surprisingly weird vocal influences" etc - these supposed innovations are totally marginal, remedial

and tango in the night sounds like, aeons more future-minded than this fwiw

A couple summers ago I talked with some Pitchfork types who agreed that Tango was not only the Mac album that mattered most as adolescent and teens but in retrospect outlined a pop future we still haven't totally heard.

History of ILM is full of people overinflating marginal production quirks into radical innovations. Saying something has been given a modern production sheen is hardly the same as saying it's innovative.

i don't think i ever said they were innovative. i just think labelling them as mere pastiche, as nothing more than fleetwood mac facsimile, is a very facile and unfair criticism

I don't think you can deny the songwriting is pastiche really.

as i feared you guys are sort of narrating the piece i'm writing about them as it is being written, oh well

tango has a presence and humidity that this doesn't and, as alfred said, nothing has really lived up to. still i think a composite of pastiches and approaches in even the slightest modern setting can be thrilling, and is here. i feel ppl who think that is sort of a dead end bc while the songs are strong and the feel is almost mathematically right i am colder toward this record that i expected. still good fun.

tango is also the product of songwriters and musicians with decades of work on their own and together under their belts. the fact that haim is even being compared to that mac lineup is... impressive!

i don't really even hear any modern sheen. the first time i heard them (without knowing what the song was) i genuinely thought it was an actual d-list 80s soft rock song. if i didn't know they were a contemporary band i would never have guessed. i think that's what strikes me as particularly pointless about them. i think i get the same bot vibes from them that rtc gets from ariana grande

think you misspelt inane there max

lol