What does it sound like?:
Four albums in and Haim have long since left their starting point of Fleetwood Mac 80s sunkissed harmonies, gated drums and a reverb-heavy sound (I re-played If I Could Change Your Mind and Don’t Save Me from their debut just to be sure, yup still there).
This album’s heaviest samples are a lifting of The Edge’s scuzzy guitar line from mid-90s U2 track Numb and George Michael’s backing vocalists from Freedom ‘90 (ok not that far from the tree). The latter is on album opener Gone, sitting on top of a shuffling acoustic guitar line that recalls nothing so much as Let It Bleed-era Stones complete with Mick Taylor-esque blues shredding. It sets out the tone for this album which sees several tracks (most notably Blood on the Streets) draw heavily from the late sixties early seventies sound.
I’ve listened to this album a good number of times. It’s both very varied – in say a way a Taylor Swift album isn’t – and very consistent – like the best of Swift, while still being unabashedly a series of succinct three minute poppers. Here’s some highlights:
Opener Relationships – we start with their trademark FM rock vocals under a slinky shifting bassline, with a clever change into another melody half-way through. Many of the tracks here have ideas for three or four songs fighting for space and it’s a mark of the great production that this never feels confusing.
Down to be Wrong sees the first arrival of a proper monster chorus coupled with a sun-kissed Laurel Canyon guitar line and some beautiful harmonies.
Take Me Back – second monster chorus, one which you can sing along to before the album finishes. By the end this has mutated from a shuffling pop beat to a full on Stones late sixties wig-out.
The Farm brings harmonies, banjo, handclaps and piano to recreate a lovely Laurel Canyon sound. The dream op sound of 90s bangers like Darling Buds or the Primitives hangs over the up-tempo shoegaze of Lucky Stars and there’s a return to their 80s synths roots on Spinning.
Though I’ve been a fan since their debut, this album which lyrically majors on the end of relationships, whether to commit to new things or just give in, feels like step up. I’m surprised but not surprised to see they’re now an arena level band.
What does it all *mean*?
Bands. Endangered species at the very top of the musical tree. Haim’s is the first one this year (comebacks excepted) from a big band at the top of their powers that’s really connected.
Goes well with…
Summer.
Release Date:
2025
Might suit people who like…
Harmonies, the singing on this album is never less than stellar. How much variety and freshness can still be wrung from some simple ideas well executed.
Am I being old and straight to suggest we don’t really need the nipples any more? And are they still integral for artistic traction?
I think when it comes to this question you should probably quit.
Champion review M Moles and I agree with almost everything you say, especially about the variety (although because of that variety a couple of tracks miss for me, but at over 50 minutes for fifteen songs it can afford to lose a couple). I like your highlight choices and I would add Cry which worked particularly well in my sunny garden this avo: