I Quit＜限定盤/Silver Vinyl＞

Four albums into their career, Danielle, Este, and Alana Haim have mastered a light touch with heavy feelings. On Women in Music, Pt. 3, they expressed sinking into, and crawling out of, depression with an ease that nearly disguised the ambition behind the records sprawl. On I Quit, they dont pull off that trick quite as brilliantly. Created in the wake of Danielle Haims split from longtime partner and HAIM co-producer Ariel Rechtshaid (and during a time when all three sisters were single), the albums sketches of rediscovering ones self after untangling from someone else arent dramatic -- and thats intentional. Its certainly fresher to approach heartbreak like its not the end of the world; "Gone," which begins the album with a nonchalant swagger channeled from George Michaels "Freedom 90" and the Rolling Stones via Screamadelica-era Primal Scream, is an unapologetic, unbothered highlight. It also shows that HAIM can still find interesting ways to use their polish. Since their sound is so smooth, they can blend any other styles they want into it easily, and I Quits sonic wandering echoes post-breakup mood swings. Working with co-producer Rostam, the group is as earthy and grounded as the Band on "The Farm" and as fizzily romantic as My Bloody Valentine on "Lucky Stars." Despite its smoothness, I Quit doesnt gloss over hard feelings entirely. Hidden under its sheen are moments of despair ("Down to Be Wrong"s "I crushed up these pills/I still couldnt take em") and spite ("Blood on the Street"s "The smell on your breath/What a stench"). The album is at its best when HAIM confronts these difficult emotions. Lead single "Relationships" is still a perfect showcase for the bands skills, juggling frustration, humor, and sorrow over summery beats and insistent hooks. "All Over Me" is another highlight, with a laid-back groove that belies the power dynamics behind casual hookups. Its especially rewarding when the band explores their relationship with their own feelings, as on "Everyones Trying to Figure Me Out"s tug-of-war between independence and humility. The nostalgia thats been an essential part of HAIMs music gains more complexity on "Take Me Back," which teeters between looking back fondly and wanting a fresh start -- if thats even possible. While HAIMs songwriting is more prominent here than it was on Something to Tell You, it shares that albums emphasis on vibe, and though detours like "Spinning"s pastel 80s R&B are entertaining, other songs get lost in the shuffle. By the time the empowering funk jam "Now Its Time" brings things to a close, it feels a little anticlimactic. At times, the album resembles a long breakup conversation -- intimate, revealing, but a bit too drawn-out. HAIM is free to do whatever it wants on I Quit, but the band doesnt seem entirely sure of what that is. ~ Heather Phares