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Haim: I Quit review – the messiest breakup album of recent times, in every sense
(Polydor)The three LA sisters dwell on the bitter end of a relationship in tracks that range from replayable valley-girl rap to plodding country-pop
The slick, twanging pop-rock was correctly identified at the time by Portishead’s Geoff Barrow as echoing the oeuvre of Shania Twain (though this wasn’t the sick burn he thought it was), over which the LA trio copped to commitment phobia, communication issues and having their heads turned, before skipping into the California sunset with their hearts intact. The idea of Haim sampling George Michael is more fun in theory than in practice: Gone is initially characterised by a low, flat vocal melody and sludgy instrumentation that manages to strip all euphoria from its co-opted “freedom!” refrain. See also: Million Years, which employs a manic breakbeat and gloopy synths to wicked, bubbly effect; and the near-nu metal of Now It’s Time’s punchy, synthetic beat, buzzing guitars and whooshing production.
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