Haim switch dial from 1970s to '90s (and back) for their most eclectic collection yet

Besides the collective, each of the sisters has carved out their own particular niche: Lead singer and guitarist Danielle Haim is very much a go-to guest vocalist, most recently on Bon Iver's Sable Fable album; multi-instrumentalist Alana Haim has shown serious acting chops and took the lead in Paul Thomas Anderson's '70s-set feature Licorice Pizza; bassist Este Haim was the music consultant on TV drama series, The White Lotus.
Haim are leading lights of LA culture now, almost as celebrated for their fashion sense as they are for their music. Their fourth album, I Quit, arrives freighted with considerable expectation, but can it live up to the highs of earlier work?
Down to Be Wrong is vintage Haim. A sultry, evocative song that will remind many of Sheryl Crow
It certainly sounds subtly different to their previous albums. While '70s influences continue to abound, the 1990s plays a significant part too. That's apparent on opening track, Gone, which liberally uses George Michael's Freedom 90. And it's there again, on closer, Now It's Time, which takes the abrasive beats of U2's Numb and does something intriguing with it.
If I Quit doesn't have quite the proportion of strong songs as debut album Days Are Gone, or indeed a single to match that of the peerless The Wire, it's comfortably their most eclectic collection. While some may lament the lack of focus, others will delight in the way the songs hopscotch from genre to genre with abandon.
There's plenty of classic West Coast pop, fey balladry, excursions into indie rock, dalliances in funk and some soulful leanings, too. And it's a reminder of what an affecting vocalist Danielle is. She sounds effortless and yet you hang on to her every word.
Down to Be Wrong is vintage Haim. A sultry, evocative song, its chorus soars. Not for the first time, it's a Haim song that will remind many of Sheryl Crow. One could imagine it taking pride of place on her 1993 gazillion-seller Tuesday Night Music Club.
It is one of several songs that explore relationship break-ups. Danielle may well be writing about personal experience. Her nine-year relationship with Ariel Rechtshaid ended in 2022: he produced each of the previous Haim albums, but beyond a writing credit on standout song, the playful, seductive Relationships, he's nowhere to be seen here. Instead, Vampire Weekend founder Rostam Batmanglij, who had a part in the production of their two most recent albums, steps up to the plate here. The siblings are in good hands with Rostam — as he is now mononymously known — at the tiller.
Guest vocalists are eschewed, and it would have been intriguing if Bon Iver's Justin Vernon had lent his voice to the giddy, commercially smart Everybody is Trying to Figure Me Out. After all, he is credited as one of the song's writers and composers.

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Irish Independent

7 hours ago

• Irish Independent

Haim switch dial from 1970s to '90s (and back) for their most eclectic collection yet

Besides the collective, each of the sisters has carved out their own particular niche: Lead singer and guitarist Danielle Haim is very much a go-to guest vocalist, most recently on Bon Iver's Sable Fable album; multi-instrumentalist Alana Haim has shown serious acting chops and took the lead in Paul Thomas Anderson's '70s-set feature Licorice Pizza; bassist Este Haim was the music consultant on TV drama series, The White Lotus. Haim are leading lights of LA culture now, almost as celebrated for their fashion sense as they are for their music. Their fourth album, I Quit, arrives freighted with considerable expectation, but can it live up to the highs of earlier work? Down to Be Wrong is vintage Haim. A sultry, evocative song that will remind many of Sheryl Crow It certainly sounds subtly different to their previous albums. While '70s influences continue to abound, the 1990s plays a significant part too. That's apparent on opening track, Gone, which liberally uses George Michael's Freedom 90. And it's there again, on closer, Now It's Time, which takes the abrasive beats of U2's Numb and does something intriguing with it. If I Quit doesn't have quite the proportion of strong songs as debut album Days Are Gone, or indeed a single to match that of the peerless The Wire, it's comfortably their most eclectic collection. While some may lament the lack of focus, others will delight in the way the songs hopscotch from genre to genre with abandon. There's plenty of classic West Coast pop, fey balladry, excursions into indie rock, dalliances in funk and some soulful leanings, too. And it's a reminder of what an affecting vocalist Danielle is. She sounds effortless and yet you hang on to her every word. Down to Be Wrong is vintage Haim. A sultry, evocative song, its chorus soars. Not for the first time, it's a Haim song that will remind many of Sheryl Crow. One could imagine it taking pride of place on her 1993 gazillion-seller Tuesday Night Music Club. It is one of several songs that explore relationship break-ups. Danielle may well be writing about personal experience. Her nine-year relationship with Ariel Rechtshaid ended in 2022: he produced each of the previous Haim albums, but beyond a writing credit on standout song, the playful, seductive Relationships, he's nowhere to be seen here. Instead, Vampire Weekend founder Rostam Batmanglij, who had a part in the production of their two most recent albums, steps up to the plate here. The siblings are in good hands with Rostam — as he is now mononymously known — at the tiller. Guest vocalists are eschewed, and it would have been intriguing if Bon Iver's Justin Vernon had lent his voice to the giddy, commercially smart Everybody is Trying to Figure Me Out. After all, he is credited as one of the song's writers and composers.

RTÉ News​

19 hours ago

• RTÉ News​

Slane Castle open for public tributes to Lord Henry Mount Charles

The family of Lord Henry Mount Charles will open the gates of Slane Castle this weekend, inviting members of the public to pay their respects and sign a Book of Condolence in honour of the late music promoter and custodian of one of Ireland's most iconic venues. Lord Henry, who died on Tuesday aged 74 after a long illness, was widely credited with transforming Slane Castle into a globally recognised live music destination. His son, Alex, the Marquess Conyngham, said in a statement that the family had been "profoundly moved" by the public response to his passing. "We have been truly touched by the strength of public sentiment and are deeply grateful for the countless expressions of sympathy and shared memories," he said. "Dad's warmth, spirit and dedication to Slane, its people and its legacy forged friendships that extended incredibly far and wide." The Book of Condolence will be available to sign on the grounds of Slane Castle this Saturday and Sunday, 21 and 22 June, between 10am and 6pm. "This will be an opportunity for all those who knew Henry, enjoyed the magic of Slane, or simply wish to express their sympathies to come together in his memory at the place he loved so deeply," the family said in a statement. They also expressed gratitude for the outpouring of support and requested privacy as they grieve. Tributes have continued to pour in for Lord Henry, who was instrumental in bringing some of the world's biggest acts to Ireland over the past four decades. Artists including U2, Queen, Madonna and The Rolling Stones have all played Slane Castle under his stewardship. Concert promoter Denis Desmond of MCD described him as a true "rock 'n' roll icon" and a "visionary with an enormous sense of fun and a tremendous work ethic". "Henry had an enormous impact on the acts who played at Slane," Desmond said. "World-class performers would talk about him long after the final note sounded. He wanted everyone to have a great time, stay safe, and come again." Desmond recalled Lord Henry's hands-on approach, often working through the night and staying closely connected to the live music industry even during his later years in hospital. "His laugh was infectious," he added. "He had a sense of humour that often shone brightest in darker moments. Truly, we will not see his likes again."

Irish Times

21 hours ago

• Irish Times

Haim: I Quit review – Ferociously catchy, satisfyingly grudge-bearing

I Quit      Artist : Haim Label : Polydor Rock music arrives at the quarter mark of the 21st century in a strange place. To the extent that anything interesting is happening, it is largely in the margins. Out in the daylight this is the era of the big beasts of antiquity: Oasis on the comeback trail, the middle-aged happy chappies Coldplay making it their mission to sprinkle the world in figurative and literal confetti, U2 trying to work out what to do next. Significantly, the most streamed band on Spotify are Imagine Dragons, a pop act with a passing familiarity with guitars. Thank goodness, then, for Haim. There is something hugely cheering about the return of these three sisters from the San Fernando Valley, in southern California, whose bittersweet soft rock is proof that, between the indie underground and the stadium cash grab, there is still a third way. Since their debut, a decade ago, they have championed such delightfully old-fashioned values as sun-kissed guitar anthems fuelled by heartache, melancholy and zinging melodies that insist on being hummed aloud. READ MORE They've also had to overcome being dismissed as pop fodder early in their careers. Still, in their teens they resisted attempts to turn them into a chart group dancing to the tune of behind-the-scenes producers and composers. 'We were scouted as teenagers, and it was kind of a horror story,' Este , the eldest of the sisters, told Irish journalists in 2014. 'It was terrible; we were turned off the business for a while. The songs were already written – they only wanted us to play. That was an instructive experience. Immediately we were, like, 'From now on we will write all our own stuff.'' To paraphrase their musical heroes Fleetwood Mac, they were determined to go their own way. That journey moves up to the next level on their ferociously catchy and satisfyingly grudge-bearing fourth album, I Quit. Showcasing the wonderfully vituperative songwriting of Danielle Haim , the middle sister – she's had her heart broken, and you're going to hear all about it – it makes the bold statement that rock music can be catchy and cathartic without pandering to the lowest common denominator. With Danielle producing alongside the former Vampire Weekend member Rostam Batmanglij, I Quit exits the traps at speed. All Over Me is a steamy chunk of acoustic funk whose narrator dreams of healing their broken heart with a quick hook-up. Take Me Back, meanwhile, is chiming folk pop that bubbles with retro goodness, recalling at moments Joni Mitchell and REM. The album's title is a reference to the band's mission statement of not being caught in a rut. The goal is 'quitting something that isn't working for us any more', according to Alana Haim (who is best known outside the band for starring in Paul Thomas Anderson's Liquorice Pizza ). Nor is it entirely a Danielle show. Este takes lead vocals on Cry, the most country-oriented moment on the epic 15-track run time. ('Seven stages of grief and I don't know which I'm on,' she croons in a lyric that draws from the big book of country-rock cliches.) A youthful vivacity runs through the project – a consequence, they have revealed, of the three sisters all being single for the first time since high school. 'I think it really brought up this nostalgic [feeling] for the last time we were single, when I was, like, 14, 15, 16,' Alana told BBC Radio. 'It's just been amazing to kind of, like, go back and relive those times [and] get back into it.' There is little in the way of surprises – aside from one curveball at the end, when Now It's Time samples the U2 song Numb, a highlight from the days when Bono and friends were more interested in pushing themselves sonically than putting bums on seats. It is a haunting reminder of the more experimental band U2 might have been and a winning conclusion to a charming LP. Haim could never be accused of blazing originality: this is a great album forged from the DNA of other great albums. But it is catchy, brash and bittersweet – and refuses to take prisoners. With so much going on, I Quit is an urgent call to the world not to give up on rock quite yet.