It’s a testimony to his style of songwriting, which is laced with winking and intelligent pop metaphors, and the record’s anthemic, throwback production. Often designed to replicate the twinkling, tinny echo ofvintage synths in a stadium setting – the work of producers like Haim favourite Ariel Rechtshaid, who makes his mark on the heart-swelling ballads “The Good Side” and “Animal”, and Oscar Holter, the man behind the surefire future single “Plum” – the whole record rejects modern pop tropes to bask in a rare kind of Eighties sonic glory.
这张专辑是他歌曲创作风格的证明，交织着闪烁而智慧的流行隐喻与颂歌式的、复古的制作。经常被设计成在体育场环境中复制闪耀的、微弱的老式合成器的回声-像是Haim乐团最爱的制作人Ariel Rechtshaid与制作人Oscar Holter的作品，前者在两首感情高涨的民谣The Good Side与Animal留下了自己的印记，后者是未来定会成功的单曲Plum背后的那个人-整张专辑拒绝现代流行，而喻指其沐浴在一种罕见的八十年代合成器的荣耀之中。
