“Haim’s best work yet” – ‘Women In Music Pt. III’ Review

In effortlessly blending together a myriad of genres – from rock and pop to country and folk – Haim have created the soothing antidote to our current chaos

In 2020, it can feel as though there’s far more that divides than unites us. However, if there’s one thing we should all be able to agree on, it’s that Haim’s third studio album is also their best album to date. In effortlessly blending together a myriad of genres – from rock and pop to country and folk – Haim have created the soothing antidote to our current chaos.

‘Women In Music Pt. III’s greatest asset is it’s authenticity. In the album, the Haim trio ditch platitudes and vagueness to create their most vulnerable and personal collection of songs to date – touching on themes of depression, emotional abuse and confronting uncomfortable truths. It is only when the album deviates from it’s authenticity, to take on a more sarcastic, ironic tone – that any faults emerge (Like when the word “nope” is employed as a clunky addition to a lyric in opening track ‘Los Angeles’).

The Haim sisters have said that much of the album was written incredibly quickly (Danielle Haim said ‘Up From A Dream’ was written in “literally” five minutes). While this occasionally leads to lyrics that feel superficial and could’ve used greater attention (“I get sad, you know I get sad / And I can’t look past what I’m sad about”), on the whole, it serves as a net positive for the album. The seeming effortlessness of writing this album, gives it a light, breezy feeling and contributes to the album’s authenticity and assuredness.

What makes ‘Women In Music’ stand out is it’s exploration of darker themes and it’s usage of specific details to create rich imagery. Final track (excluding bonus tracks) ‘FUBT’ – which centres around an emotionally abusive relationship – is an agonising end to a beautiful album; focusing on the feeling of being unable to get out of a relationship you know is detrimental to your own well-being.

In creating their most raw and personal album yet, Haim take new risks that many other artists wouldn’t dare take. On ‘Women in Music’, the sisters are unafraid to punctuate a line with a chaotic scream or casually drop the c-word in a song responding to a sexist interviewer. Luckily for us listeners, nearly every risk the Haim sisters take pays off. None of the 13 main-songs can be reasonably dismissed as ‘filler tracks’ – with each track bringing something new to the album – and the blending of deep, hard-hitting lyrical content with smooth, genre-crossing instrumentals creates a unique, and wholly enjoyable, listening experience. After the release of their second album three years ago, it’s good to have the Haim sisters back.

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