Music maturity on the third album of the Haim sisters
For more than two years, the last studio album by the Haim sisters was published, “Women in Music Pt. IIIor WIMPIII as they call them), where this, Danielle, and Alana achieve with an extremely modern sound generate letters and a timeless style.In view of this as his third study album, co-produced by Danielle, it seems contradictory to his complexity and accessibility to the popular audience. Although certain themes reside in familiarity, not any theme reaches the charts referencing Lou Reed as they do in “Summer Girl”, getting this album more than being the refined algorithm of a pop song, the consolidation of a sound with a clear guideline on which they have been working for almost ten years. Unlike his other two works "Days are gone" and "Something to tell you", on this record one can see the growth and musical maturity that they got in recent years, asi also as the influences of the producers Ariel Rechtshaid and Rostam Batmangli, former Vampire Weekend member.
"We attach great importance to both the composition and the recording of themes. The '80s is one of our referents. In the 1990s, with grunge, production began to decay. Today, with the technological advances, you can record a disk in your room and get a good sound for little money. In strictly musical terms, we are living a time similar to that of the 80s, because the electronics is very relevant and fuses with the rock" says Danielle for "The country", and can highlight this quality with few features in his Tiny Desk Concert
Influences, catarsis and tribute to Los Angeles
The album opens with “Los Angeles”, a tribute song to the main scene of its history. With the help of Paul Thomas Anderson and with a coming-of-age narrative aesthetic, his essence is captured through the videos of "Summer Girl", "Now I'm in It", "Hallelujah", "The Steps", "Man from the Magazine" and "Lost Track", which could even be considered part of the PTA film universe.As for the lyrics of the album, each of the sisters tried to catarse their experiences part of the creative process: for Danielle the depression, for Alana the unexpected death of a friend, and in the case of Este, to be unexpectedly diagnosed with diabetes.
These feelings are clearly translated into themes such as "Hallelujah" or "I Know Alone", which although it was written before confinement by the COVID-19 virus, was almost an omen:
Now I’m in It was one of the first singles on the album, but in the final version we will find it as bonus track . Here it continues (or the first singles start) with this narrative about this bottomless spiral where it is difficult to get out and the search for that exit. With a clear video on this cyclical situation, there is a slightly more optimistic view where we can see support among them.“Been a couple days since I've been out
Calling all my friends but they won't pick up
Found another room in a different place
Sleeping through the day and I dream the same
The Importance of Music and Live Instrumentation for Haim
One of the album's surprises was Gasoline, a song that features the collaboration of Taylor Swift, who calls herself "The Fourth Sister Haim" and with whom she came to present the song live.[caption id="attachment_ 7669" align="aligncenter" width="1000"]
The Haim sisters with Taylor Swift in the live performance of "Gasoline"[/caption]
Women in Music: “I don’t want to hear it is what it is, that’s what it was”
On their last album they can see the influences of Shania Twain, Sheryl Crow, Joni Mitchell, Fleetwood Mac and Destiny's Child, but as a tribute as a starting point.Being a rock band composed exclusively of three women is not the main theme of the album, but it is almost impossible not to highlight:
[caption id="attachment_ 7660" align="aligncenter" width="1024"]“Being a band of girls in rock n roll, they didn’t always take us very seriously, last month the BBC asked me to record a guitar tutorial for ‘the steps’, and the first I think about it, because it’s a very simple riff, it was in the comments saying that I had the level of a 5-year-old. Even so I did, but that kind of situation comes the name of the album. ” Develop Danielle in an interview.
HAIM presenting in issue 63 of GRAMMY (Photo by Kevin Winter/Getty Images for The Recording Academy)[/caption]Being the three skilled instrumentalists their live performances are the fourth paw of what makes them so relevant, when climbing the stage create a unique atmosphere, where they honor not only their three records if not their reference figures whenever they include some cover or reversal (Ex. “That not impressed me that much”, “Oh well”, “I ‘ll anything try eleven”)
Thus, prejudice forced them to see many faces of surprise when they come down from the stage, this one even says they play better than many fellow men, but they would never be questioned. These experiences with captured in the song "Men from a magazine" where Danielle says:
Being with this album beyond what a lot of popular music offers us today, I think they are not even close to reaching the limit of their ability." The boy from the music store, which I conducted so much to get, gives me a beginner guitar and tells me that I could play in some bar”
Already by your present one can see that they will transcend by themselves and their music, because if you hear on the radio a theme of them, or the random ending in one of their videos, only a few seconds would suffice for them to climb the volume without needing to put them face or name.
Still, the context makes them even more important. Both the videos that go up to the networks, the choreographies of their shows or their dressing form, claim a set of things that are unpredicted only because they are associated with the female experience, reach a new dimension because they are associated with their talent and musical quality, not being lowered to something banal, something that in the cultural impact should not be underestimated.
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