HAIM – ” Women In Music ” Best Albums Of 2020

Posted: January 31, 2021 in Classic Albums, MUSIC
Tags: , , ,

Women in Music Pt. III

Why We Love Them: We simply don’t deserve Haim. The world is far too broken to fully appreciate Women in Music Part III, the sister trio’s subtly spectacular third LP, which further establishes them as more than expert pop students-turned-teachers. Released in June, WIMPIII cuts to the center of a Fleetwood Mac and Sheryl Crow mix CD-R and extracts all its sun-kissed ‘70s soft-rock (“Don’t Wanna”), ‘90s California-pop (“Gasoline”) and a list of thrilling surprises — all courtesy of a band inadvertently shouldering a genre with their breezy brilliance. Though it isn’t just what the Haim ladies accomplish with their undervalued guitar, bass and drums that make them the year’s most vital band. It’s everything else; the psych-tinged Janet Jackson tribute that is “3 AM,” the pulsing exploration of “Now I’m in It,” which sounds like Savage Garden breathlessly dancing at a Robyn concert. Their song writing has only become more dauntless since Days Are Gone put them on the map and they help rock transcend its perceived limitations in 2020 without declining to rock altogether. We bow down to Danielle, Este and Alana, our three-headed summer girl.

These sisters had a hit a few years back and Iv’e always like their cool LA vibe but this album kicked it up a notch . This song is great but the whole album is worth a few hundred listens.

Finest Moment: Pick one: “Man from the Magazine,” a percussion-free middle finger to mansplaining journalists and their dumb-ass questions (“Do you make the same faces in bed?”) or the accidentally apt “I Know Alone,” whose opening line “Been a couple days since I’ve been out” has become a coronavirus quotable (despite being written months before the pandemic). Far too many people can relate to both

In 2017, the New York Times declared, “Rock’s not dead, it’s ruled by women.” Iterations of this thesis, equal parts tone-deaf and impressed with itself, have proliferated over the last several years, as the word “women” has been whittled down to a buzzword. Women have created complicated, vulnerable, muscular music since the dawn of rock, yet every few months, someone discovers it for the first time.

While there’s plenty of genre-hopping on Women in Music Pt. III—hip-hop, reggae, folk, heartland rock, and dance—HAIM has created an album that’s defined not just by exploration, but by their strong sense of individuality. Unlike the sparkling, thoroughly modern production of 2017’s Something to Tell You, this album’s scratchy drums, murky vocals, and subtle blending of acoustic and electronic elements sound ripped straight from an old vinyl. It’s darker, heavier fare for Haim, for sure—a summer party record for a troubled summer. Haim’s instincts to veer a little more left of the dial result in an album that strikes a deft balance between the experimental and the commercial, the moody and the uplifting. You’re unlikely to hear these songs on Kroger’s in-store playlist—on which 2017’s “Little of Your Love” seems to have become a permanent staple alongside the likes of “Eye of the Tiger” and “I Wanna Dance with Somebody (Who Loves Me)”—but these songs are riskier, and ultimately that much more rewarding.

The best album of the Haim sisters’ collective career is a smorgasbord of genres. From the R&B worship of “3AM” and “Gasoline” to the Paul Simon-referencing “Up From a Dream”—via “Man From the Magazine”‘s raw-edged raised eyebrow—the record broadens the band’s horizons while also holding onto the core pop-rock sensibility beloved by their fans. Establishing them even further as the current torchbearers of long-haired California guitar music, Women In Music Pt. III is the record that believers have long known HAIM had in them.

On Women In Music Pt. III, Haim poke fun at the trope and prove its validity. They drift from boundless joy into hazy dream states, skipping around the vibrant streets of LA and then going through the motions in a fog. WIMPIII’s sound is similarly layered; R&B slow jams, country crooners, and melodic indie-pop build on HAIM’s soft rock foundation. Some of the album’s best one-liners and biting salvos confront the experience of being othered by men — during interviews, booty calls, relationships — but there’s no mistaking who’s in control.

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