Haim: Women in Music Pt.III - The California Trio Amaze with Vibrantly Vulnerable Third Album.
Delayed by the COVID-19 pandemic, Haim’s dynamic third album Women in Music Pt.III is well worth the wait. Featuring multiple narratives, from the isolating veil of depression experienced by the sisters during the creation of the album, to the eye-roll-worthy misogynistic questions posed to female acts in the industry. Decorated with air-tight harmonies and electrifying guitar riffs, Women in Music Pt.III invites listeners to take an intimate look into the inner-workings of one of rock’s most exciting bands.
Despite tackling bleak themes for the majority of the record, Haim deliver an uplifting, effervescent album. The mechanical drum machine and glitchy synthesisers of ‘I Know Alone’, coupled with whirring vocal samples create a sonic illustration of the restlessness of anxiety. The aching vocal delivery of the chorus “Some things never change, they never fade/ I know alone, like no one else does” emphasise the feelings of despair Danielle Haim was well-versed in by the time of the album’s release.
Feelings of melancholy are echoed throughout the album, personified in punky acoustic guitar rhythms and shimmering harmonies on “I’ve Been Down”. Sultry, spoken vocals in the bridge feel distinctly personal, as if Danielle is talking directly to the listener. “The love of my life sleeping by my side, but I’m still down”. The dreamy synths and pulsing bass line of “Now I’m In It” are paired with powerful imagery and fast-paced vocals, beckoning you to scream the lyrics at the top of your lungs, “The rain keeps coming down along the ceiling, and I can hear it, but I can’t feel it”.
Pitchfork’s Aimee Cliff awarded Women In Music Pt.III 8.6 out of 10, along with the title of Best New Music, a rare sight from the critical music magazine. Cliff describes the album as “far and away their best”, upon listening to the album, you’d be hard-pressed to find anyone who disagrees.
The album touches on the misogyny the band have experienced in the music industry. ‘Man From The Magazine’ the only live recording on the album, features stripped back acoustic guitar and bass which allows the venomous vocals to shine through. In an interview for q on CBC, bassist Este Haim states: “[Man From The Magazine] was born out of real experiences that me and my sisters have had. In one of our first interviews a male rock journalist asked me if I make the same faces onstage as I do in bed”. These experiences are mirrored word-for-word in the lyrics, “Man from the magazine what did you say? Do you make the same faces in bed?”.
Themes of female-empowerment reverberate in their most explosive song yet, ‘The Steps’. The riotous opening drum beat bursts the song into life, joined by guitarist Alana Haim’s memorable, honey-sweet guitar riffs. The song’s grunge-inspired production and irresistible melody in the chorus “Everyday I wake up and I make money for myself/ I don’t understand how, you don’t understand me” will be stuck in your head for days.
Women in Music Pt.III is absolutely brimming with life, although there is potential for the slower, acoustic songs such as the folk-inspired ‘Leaning On You’ and ‘FUBT’ to get lost among the arena crowd-worthy bangers surrounding them, such as the brilliantly vibrant ‘Don’t Wanna’, and the tear-jerkingly personal ‘Hallelujah’. Haim’s expansive third album throws away the concept of genre, and perfectly caters for a colourful spectrum of emotions: from the euphoria of a 20,000 capacity arena show, to the pensive and introspective train ride home.
Photography Credited to Keith Oshiro.