Haim – I Quit (Polydor) 13th Floor Album Review
I Quit, the fourth album from Los Angeles-based band Haim, is about to land – and while it’s not an album you’ll want to stop listening to, it’s not a particular revolution from a thematic standpoint.
But that’s what makes Haim a band that has continued to persevere for a decade – their effectiveness as a trio, and their ability to lean on a formula which has been proven to work for them and their audience.
The 15 tracks are, for the most part, very different to their previous albums, This is partially due to their sampling of iconic tracks, such as George Michael’s Freedom! ‘90 on the opening track Gone. There’s a level of irony in that the noticeable sound changes may be a result of the band no longer working with Ariel Rechtstaid, with whom lead vocalist Danielle Haim was in a relationship until 2022. Instead, the main collaborator is the founding member of Vampire Weekend Rostam Batmanglij. Considering the album predominantly discusses the breakdown of relationships, it’s an interesting note to keep in the back of the mind while listening.
All Over Me is without a doubt a fun, country pop-style song, playing on the concepts of lust and attraction. But it’s track three that is the real star of I Quit – Relationships. It’s a funky, mildly psychedelic funk-pop track that shows the sisters’ ability to experiment and succeed. There are multiple tempos and layers as they explore the cyclical nature of romantic feelings, both lyrically and instrumentally.
This early section is definitely the peak of the album, but Down to be Wrong is also interesting and haunting. Against raw guitar strokes, the song covers multiple relatable topics in the forms of heartbreak, healing and preservation in one. Take Me Back is a more upbeat piece centring on nostalgia, but one that sounds crowded with it’s almost unidentifiable instrumentals. Something sounds jangly, something else sounds almost like a triangle – but it doesn’t sound cohesive. There’s double entendres in the lyrics, such as ‘Molly took a shit in the back of the car, didn’t even notice, she was too coked up’ – but if you blink, you’ll miss them.
Love You Right takes listeners back to the theme that threads throughout – leaving relationships and rediscovering yourself in the aftermath. Against drums, there’s a definite relatability in the rawness of the vocals in this one. The Farm, Lucky Stars and Million Years also follow this pattern, before the emergence of Everybody’s Trying to Figure Me Out – which is much more triumphant. It’s easy to understand why this was one of the album’s lead singles. It’s reflective, exciting and universally relevant. With its creeping melodies and symbolism evident from the get-go, it’s a breath of reassurance to listeners that everything will work out.
Try To Feel My Pain is undoubtedly the closest they come to their previous record, Women In Music Part III. It’s groovy, and the jazz horns supporting the backing band are a commendable addition. For an album that doesn’t feel overwhelmingly pop-rock and is more a mix of genres, Spinning is still a good track – it’s just disco-infused enough to slot into the sound of the album’s second half. If there’s one song on I Quit that will make you want to get on the dancefloor, this is it.
Cry is a classic sad song, traversing the stages of heartbreak methodologically. It’s similar to what you’d find on a Coldplay or Kelly Clarkson single, but a refreshing sound nonetheless. The transition into blues-inspired Blood on the Street certainly packs a punch. At the beginning, it’s “you wouldn’t care / if I was covered in blood lying dead on the street”, but by the song’s conclusion, it’s “the sun’s up, I’m out, and that’s that.” For an album that has focused on romantic ties and the feelings that come with cutting them, it’s uplifting and joyful to hear this description of a new, freer chapter emerging.
The album ends with Now It’s Time – and after listeners experience what feels like a rollercoaster of emotions on I Quit, it’s a fitting sentiment. A final blow lands with the line “you never gave two f*cks anyway” and with that, the catharsis that I Quit provides is complete.
Chantal Janice
I Quit is released June 20th on Polygram/Universal
