If you've managed to avoid the typhoon of hoopla that precedes HAIM, then you probably live in Siberia. The siblings - Este, Alana and Danielle - (plus sticksman Dash Hutton) have been plastered flaming everywhere for the past 12 months; a large proportion of the giddy buzz is due to them being crowned the 'BBC Sound Of 2013', which in fairness, is a pretty major feat/testament to their calibre.

Whilst it would normally be grating to see a singular act take up so much many radio slots and column inches, it's a non-issue in regards to HAIM, because they're ruddy brilliant. They've been hyped to high hell, but their Fleetwood Mac-meets-'90s R&B noises are splendid; there's nary a soul that can resist their funk-laden pop-rock snap, waspish charm and frenetic fret fandango.

Their debut full-length, Days Are Gone, is the culmination of over a year's hard slog. They've toured and campaigned for the past 18 months with the tenacity of a peckish mutt rummaging through bin bags, and before burning out completely, they took to LA to record with pop warlocks Ariel Rechtsaid (Usher, Vampire Weekend and Charli XCX), Ludwig Göransson (Chance The Rapper, Childish Gambino) and James Ford of Simian Mobile Disco. After coalescing and commingling over sounds, they finally announced to the world the fruits of their intensive toil. Days Are Gone is a labour of love, honed and whittled over their meteoric ascension to celebrity-land.

There are lots of tracks on this album that we've heard before. 'Falling', 'Go Slow', 'The Wire', 'Forever', 'Don't Save Me'... it's quite a disappointment to find very nearly half the album is material we're already familiar with. The songs themselves are great - 'Falling' wriggles with anthemic disco vigour, 'Forever' is a forlorn slab of crunchy rock'n'roll, 'The Wire' swaggers from dive-y jukeboxes the world over with orchestral flourishes and a rousing singalong chorus. All the tracks we've heard from the three - (four) - some are stunning, but is it too greedy to expect more than six new efforts on their debut?

The rest of the album is hit, with only a smidgen of miss. The cloying surf-pop of 'Honey & I' is a little tepid and frothy - it's a 'ballad' in comparison to their normal fizzy snarl. The shuffle and meander of sunny pop lacks the precise airstrike rock that we're used to, and would fit better on a Best Coast release. However, there's much greatness: 'Days Are Gone', replete with power-pop synths and a monumental chorus, mines a F&B (funk and blues) vein. Co-penned by Jessie Ware, perhaps the turn isn't a surprise, and even Ware's signature pitch-shifted vox method makes an appearance. Another standout is the brassy 'My Song 5', which marches menacingly with their calling-card quasi-R&B. There's a wild folk vibe, feral axe riffs and proper farty bass. It's completely skewed and futuristic - by far the most inventive effort on Days Gone By, and definitely a highlight.

Lots of the themes on here divulge romantic tales and discuss the power of the break-up. 'Go Slow', via swooning '80s pop-rock, details a regret-riddled falling out of love: "Oh, I just want to go back/ hold on to the way that I was/ 'cause you took away all my young life/ and I hate what I've become." 'Let Me Go' is a string-led 12/8 epic ode with poetic anguish: "I gave you everything I could give/ you try to take/ and you try to make, take all everything you can." As it evolves, there's added raunch, an injection of cock-rock guitars and what begins timid soon becomes overwhelmingly empowering.

It would've been so very easy for HAIM to let us all down with this debut, but they haven't. It's a genuine shame that we haven't got more unheard gems, but probably due to a label's desire to churn out a release in the middle of a hectic touring schedule, and we'll have to make do with what's on offer. Even so, this LP doesn't disappoint. Smooshed together, all the previously released singles and fresh cuts fool around like drunk teenagers. It's a fantastically fun experience through a balls-out circuit of disco, pop, funk, R&B and rock, splattered with singalong mantras pertaining to l'amour. Days Are Gone will do nothing to stem the flow of hype washing over these girls (and boy).