HAIM are fed up of “girl group” stereotypes. Women In Music Pt. III is their answer.

Credit: Columbia Records / HAIM

I hope you’re paying attention folks; that album title may well be tongue in cheek, but it comes from a place of real experience. All-female indie bands regularly suffer from an incessant need by certain critics and fans to box them up, file them under a myriad of constrictive labels and place them on a pedestal of patronisation.

As though it’s some badge of honour to listen to a ‘girl group’ who ‘make music like this’, HAIM are one of many acts treated differently because of their gender. Even more so now because they’ve achieved music success, a whole new category of expectations is placed upon them. Being a successful female alternative band means they have to fit into every-sod-with-an-opinion’s idea of what a successful female alternative ‘has’ to be.

And the reality is that, even with all those expectations, there are countless other bands lacking even half the talent they have who are treated like the second coming, get better placing on festival lineups, and don’t get misogynistic questions from interviewers. Frankly, why not title your album like this then if anything else is only going to be picked apart for no good reason anyway?

“Their sound switches from classic indie rock structures to RnB infused cuts and dance-oriented tunes too. The rulebook is out of the window…”

This is certainly not an admission of defeat. Instead, they’ve turned to a cynical combat style; the album cover is adorned with sausages; the band’s expressions are cynical; they even added a 69 on there as a final touch. The joke’s not on them, that’s for sure.

And it’s reflected in the music too. There are songs about unwanted booty calls, sexist interviewers and having to defend making their own income. Their sound switches from classic indie rock structures to RnB infused cuts and dance-oriented tunes too. The rulebook is out of the window, and the result is a sound that feels like the band adding whatever genres they want to, regardless of what some snide critic might say.

Don’t think for a moment that they’ve got arrogant, however. There’s no facade in the lyrics – WIMPIII is an album of admissions, both to themselves and about themselves. It’s been well documented about how much the band went through personally in the making of the record, and there’s a sense of finality to those matters here. Even if they’re still dealing with the impacts, this record serves as some form of therapy, a way to process it.

“HAIM seem to feel like their contribution is one where their personalities drive their style.”

As a male listener, I will never have to deal with a lot of the experiences the band put front and centre here. What works so well is that it doesn’t try to be a bold, campaigning-style feminist record. HAIM seem to feel like their contribution is one where their personalities drive their style.

Yet even now, I can practically hear some of the comments the album has and will receive; a delightful dichotomy between those idolising it for some ‘honest depiction of women’ and those unhappy that it calls out toxic male behaviour.

Boohoo to you lot. When you have a record that sounds this good – gorgeously produced, summer-soundtracking alternative rock, with inflections of everything from Joni Mitchell to Fleetwood Mac to modern RnB – that is so deft with its message, such comments are trivial.

And in these mad, ever-changing times, hearing a record that contributes to the ongoing debates around gender whilst also being straight and direct with its listeners is a relief. Its political without the vitriolic agendas we’ve become used to.

“I’m very glad to see ‘Summer Girl’, one of the best tracks of last year, making an appearance here.”

As an album, it’s not without its flaws. The structure lacks on its 56 minute run time, with the best of the record found at the start (‘The Steps’, ‘Up From A Dream’ and ‘Gasoline’ have been on my mind ever since my first listen) and in its three bonus track ending – I’m very glad to see ‘Summer Girl’, one of the best tracks of last year, making an appearance here.

The bits in between have their stronger moments, and the interlude-esque transitions between tracks give it a cinematic quality, but it’s easy to switch off here too. I hoped for some more guidance from the band sometimes.

But as a complete package, I’m sold. A lot of the Sixties/Seventies-themed indie rock of late has had a middling, un-invigorating quality to it. Not so here; HAIM inject all of their songs with personality and decorate it with relevant, necessary lyrics. Feeling the energy they give off as they take their record wherever the hell they like is refreshing and rewarding.

Women In Music Pt. III refuses to be boxed up under any labels, drawing together both the band’s own life experiences and exploring the wider issues of misogyny in general. An accomplished, often soothing, alternative summer soundtrack.

Rating: 8.0/10