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Haim’s new album gives vivid shape to a hard-to-define phase

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In the realm of music criticism, allow me to share my thoughts on Haim’s “I Quit”. This isn’t your typical breakup or moving-on album; instead, it finds itself nestled comfortably between those well-worn genres. The title, drawing inspiration from a dramatic third act in the beloved 1996 film “That Thing You Do!”, signifies a bold declaration – a reflection on a relationship that didn’t quite work out, yet offers a retrospective analysis of the lessons gleaned (and those left unlearned) from the experience.

As a music enthusiast, I’d like to draw your attention one last time before I move on. The album opens with Danielle Haim’s soulful voice crooning over an emotional acoustic guitar riff in “Gone.” However, she seems to have second thoughts, as heard in “All Over Me,” where she revels in the excitement of a new relationship – “Take off your clothes, unlock your door, ’cause when I come over, you’re going to feel it” – yet cautions him not to dive too deep without knowing the depths. Later on, Este Haim steps up for “Cry,” expressing her confusion about where she stands in the grieving process – “I’ve moved past the anger and rage, but the pain still lingers.

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How can one make a song reflect such a transitional phase? On “I Quit,” produced by Danielle along with Rostam Batmanglij, the sisters achieve this by creating songs that move in various directions simultaneously. For instance, “Relationships” blends the vibe of “Funky Divas” and “Tango in the Night,” while “Everybody’s Trying to Figure Me Out” is a deconstructed blues strut that transforms into vibrant psych-pop melodies during the chorus. They do this by experimenting with new musical styles, as shown in the shoegazing “Lucky Stars” and “Spinning,” which features Alana Haim cooing softly over a pulsating disco rhythm. In certain aspects, “I Quit” shares similarities with the more sensual “Sable, Fable” by Bon Iver, where Justin Vernon contributed to several songs on this album.

The Haim band also incorporates nostalgic elements, as shown in their songs: “Gone” includes samples from George Michael’s “Freedom! ’90”; “Down to Be Wrong” recreates the exhilarating feel of Sheryl Crow at her peak; and surprisingly, “Now It’s Time” utilizes the rhythmic funk-industrial beat from U2’s “Numb.

Music

On her stunning second album, Jensen McRae examines two heartbreaks through radiant acoustic pop tunes, while delving into themes of gender, advantage, and mistreatment as well.

The nostalgic theme is woven into the song’s lyrics, yet it’s depicted in a vivid and crisp manner, such as in “Take Me Back,” a lively blend of folk-rock rhythm where Danielle reflects on the acquaintances she once had in the Valley — “David only desires to do what David desires / He now has a parking lot instead of a bald spot” — and how simpler life was when she’d drive down Kling Street, searching for an empty parking space just to be close to you. (This song features an excellent guitar solo.) In “Down to Be Wrong,” she gazes out from her airplane window seat on a journey to another place and notices “the street where we used to rest” — likely referring to her ex, Ariel Rechtshaid, who collaborated on Haim’s initial three albums and whose influence lingers here like a ghost.

In the heartfelt country ballad “The Farm,” Danielle sings, “‘My mother wants me to smile,’ she says from the hill,” expressing the growing gap between the words she speaks and her true feelings. The song, centered around decisions about who to part ways with and who to encounter for the first time, reaches its emotional peak in a heartwarming verse where one of Danielle’s sisters invites her to stay at their place if she needs a refuge until she regains her strength. Despite the turbulence, family remains steadfast.

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2025-06-20 20:01

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