The often-cited statistic that 50 percent of American marriages end in divorce has long been overstated: The divorce rate started sliding from its historical peak way back in 1980. But the myth of the modern marriage being doomed to fail endures because it was seared into the cultural consciousness—like so much else—by Baby Boomers. After the sexual revolution of the ’60s and the legalization of no-fault divorce, they availed themselves of the freedom to leave their spouse—and then parlayed that experience into now-classic movies, books, and rock about going your own way.
经常被引用的统计数据是，50％的美国婚姻以离婚结束了：离婚率从1980年开始从历史峰值开始滑落。但是，现代婚姻的神话注定要失败，因为它被烧成了文化意识，就像是如此之多，是如此的其他。在60年代的性革命和无过错离婚的合法化之后，他们利用了离开配偶的自由，然后将这种经历纳入了现在的经典电影，书籍，书籍和摇滚，以自己的方式走上自己的方式。
Boomers’ children aren’t getting hitched as easily, and those who do are less likely to split up. That’s probably a result of living in an ever more individualized, ever less traditional, and ever more expensive society—and of having studied the cautionary tales of their elders. But Millennials do have their version of divorce rock: the softly grooving Los Angeles band Haim. The group’s three members have never been married, but their new album, I Quit, cleverly remixes the breakup-music canon for a generation that’s wary of tying the knot.
婴儿潮一代的孩子并没有那么容易被搭配，那些这样做的人不太可能分裂。这可能是由于生活在一个越来越个性化，传统和越来越昂贵的社会中的结果，并研究了他们的长辈的警告故事。但是千禧一代确实有自己的离婚摇滚：柔和的洛杉矶乐队Haim。该小组的三名成员从未结婚，但是他们的新专辑《我退出》巧妙地将分手音乐佳能混合在一起，以使一代人保持结婚。
Since their 2013 debut, the Haim sisters—Este (39), Danielle (36), and Alana (33)—have gained fame as pop celebrities who are fluent in TikTok and friends with Taylor Swift. Yet, as a rare band in an era of solo stars, they’re also a throwback. Haim’s songs blend the rollicking chemistry of Fleetwood Mac, the muscular femininity of Heart, and the mystic cheesiness of Phil Collins (with a smattering of new-jack-swing sparkle). But the sisters swap the earnest grandiosity of their influences for cheeky nonchalance, hinting that nothing they sing about is all that serious. In videos, they strut down streets like Tina Turner, except with all of Turner’s outsize emoting replaced by smirks. The band’s great 2013 single, “The Wire,” is about ditching a perfectly nice partner, counseling, “I just know, I know, I know, I know that you’re gonna be okay anyway.”
自2013年首次亮相以来，Haim姐妹（39），Danielle（36）和Alana（33） - 成为流行名人的名声，他们在Tiktok中流利，并与泰勒·斯威夫特（Taylor Swift）成为朋友。然而，作为独奏明星时代的罕见乐队，他们也是一个倒退。Haim的歌曲融合了Fleetwood Mac的滚动化学，心脏的肌肉女性气质和Phil Collins的神秘俗气（带有新杰克·斯帕克（New Jack-Swing）的闪闪发光）。但是，姐妹们将影响力的认真宏伟的态度换成了厚脸皮的挑剔，暗示他们唱歌的任何事情都不那么严重。在视频中，他们沿着蒂娜·特纳（Tina Turner）等街道划掉，除了特纳（Turner）的所有激情被傻笑所取代。乐队的2013年单曲“ The Wire”是关于抛弃一个非常好的伴侣，咨询：“我只知道，我知道，我知道，我知道你还是会好起来的。”
Though the band’s lyrics have long been preoccupied with breakups, I Quit is the moment these Stevie Nicks disciples attempt their Rumours: a kaleidoscopic and questing pop epic about unraveling commitments (though made in circumstances of sibling solidarity rather than burning tension between bandmates). The three sisters were each single while recording the album, and have marketed that fact by sharing dating horror stories online. The most consequential breakup here is that of the lead singer, Danielle. In 2022, she exited a relationship of nine years with the producer Ariel Rechtshaid, who’d worked on all of the band’s previous albums. The split apparently represented both a personal and an artistic unchaining. Danielle told ID magazine that Rechtshaid took a “searching, labored” approach to recording, whereas I Quit’s lead producer, Rostam Batmanglij, is “quick” and “kinetic.” The album’s title is meant to convey liberation: “The exit is also the entrance,” Este said to GQ.
尽管乐队的歌词长期以来一直在分手，但我辞去了这些史蒂夫·尼克斯（Stevie Nicks）门徒试图谣言的那一刻：羽衣甘蓝和追求流行史诗（尽管在同胞团结的环境中，而不是在乐队成员之间燃烧紧张局势）。在录制专辑时，这三个姐妹都是单人，并通过在线分享约会恐怖故事来销售这一事实。这里最结果的分手是主唱Danielle的分手。在2022年，她与制片人Ariel Rechtshaid退出了九年的关系，后者曾在乐队以前的所有专辑中工作。拆分显然代表了个人和艺术上的不安。丹妮尔（Danielle）告诉ID杂志，Rechtshaid采取了“搜索，劳力”的录音方法，而我退出的首席制作人Rostam Batmanglij是“快速”和“动力学”。专辑的标题旨在传达解放：“出口也是入口，”埃斯特对GQ说。
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The music does feel quite unshackled. Haim’s previous and best album, 2020’s Women in Music Pt. III, was a delicate jewelbox of sound, but I Quit is all surge and excess. Its songs go on longer, say more, and do more than is expected or, sometimes, advisable. The opening track’s grating sample of George Michael’s “Freedom! ’90” feels like the result of a dare; a number of genre digressions—into drum and bass, industrial rock, and shoegaze—are amusing but inessential. The highlights, though, are Haim-ian in the best way: instinctual and playful. Incongruous musical styles join up through ingenious, gliding transitions. The arrangements sizzle and fizzle like Pop Rocks thanks to creative instrumentation and digital editing.
音乐确实感觉很不稳定。Haim的以前和最佳专辑，2020年的音乐PT女性。III是一个精致的珠宝盒，但我辞职的是激增和多余的。它的歌曲持续更长的时间，说更多，并且做得超过预期的，有时甚至是可取的。开场曲目的乔治·迈克尔（George Michael）的“自由！’90”的光栅样本感觉就像是敢于出现的结果。许多流派题外话 - 插图鼓和贝斯，工业岩石和鞋类 - 很有趣，但它不雅。不过，亮点以最好的方式是Haim-ian：本能和嬉戏。不协调的音乐风格通过巧妙的滑行过渡加入。得益于创意乐器和数字编辑，这些安排像流行岩石一样发出嘶嘶声和嘶嘶声。
The lead single, “Relationships,” is the album’s manifesto: “I think I’m in love but I can’t stand fucking relationships,” Danielle sings. Bickering and restlessness has her running a cost-benefit analysis on her beloved, and the music sounds as confused as she is, rotating from goofy hip-hop to plangent quiet storm to handclap-driven hoedown. Boomers loom in the background: “Oh this can’t just be the way it is / Or is it just the shit our parents did?” Really, it’s not the shit her parents did—they’re long married with three daughters. The narrator of this song, by contrast, sounds barely tethered, like a Mylar balloon on a fraying string.
主张单曲“关系”是专辑的宣言：“我想我恋爱了，但我无法忍受他妈的关系，”丹妮尔唱歌。争吵和躁动不安，使她对自己心爱的人进行了成本效益的分析，音乐听起来像她一样困惑，从愚蠢的嘻哈音乐旋转到易变的安静风暴，再到手持式驱动的Hoedown。Boomers在背景中迫在眉睫：“哦，这不仅仅是 /还是我们父母所做的狗屎？”确实，这不是她父母所做的狗屎 - 他们已经结婚了三个女儿。相比之下，这首歌的叙述者听起来几乎没有束缚，就像一条磨损弦上的聚酯蛋白酶气球一样。
Which isn’t to say she finds a serious relationship painless to sever. The album serves up the expected outpourings of post-breakup grief (“Cry,” whose elegant melody evokes Annie Lennox), anger (“Now It’s Time,” which interpolates a pounding riff from U2’s Zooropa), and horniness (the country romp “All Over Me”). But its centerpiece tracks march from ambivalence to … a different kind of ambivalence. The excellent “Down to Be Wrong” is the confession of someone defiantly leaving the life they’ve built, all the while maintaining a pit-in-the-stomach terror about the unknown. As the song builds from iciness to fieriness, Danielle conveys a belief in following your own desires—even if you don’t fully understand what those desires are, much less where they’ll take you.
这并不是说她发现一种严重的关系无痛地切断。这张专辑为破后悲伤的预期浇注（“ Cry”，其优雅的旋律唤起了Annie Lennox），Anger（“现在是时候”，它介绍了U2的Zoooropa的重击）和角质（这个国家的“遍布我”）。但是它的核心轨迹从矛盾情绪到……一种不同的矛盾情绪。出色的“脱颖而出”是坦白的坦白，挑衅地离开了自己的生活，同时一直保持着关于未知事物的痛苦恐怖。随着这首歌从伊斯兰（Iciness）到火热，丹妮尔（Danielle）表示信念遵循自己的欲望，即使您不完全理解这些欲望是什么，更不用说他们带您的地方了。
In moments like that, Haim’s music attains a newfound sense of drama: the drama of experiencing life as a purely internal, self-directed struggle. The narrators of these songs don’t worry about betraying an oath or straying from a traditional role; friends and family figure only as concerned characters wondering whether their newly single buddy is okay. Everyone seems to agree that happiness, or at least liberation, is the noblest goal. But that prerogative to chase self-actualization at all costs brings with it the dread of failure, as heavy as the booming drums that ground the album’s otherwise spry arrangements. At one point, Danielle quotes Bob Dylan in 1965: “How does it feel to be on your own?” She’s repeating a question asked at the dawn of a social revolution whose effects, sonic and spiritual, ripple ever onward.
在这样的瞬间，海姆的音乐获得了一种新发现的戏剧感：经历生活为纯粹内部，自我指导的斗争的戏剧。这些歌曲的叙述者不必担心背叛宣誓或摆脱传统角色。朋友和家人只是想知道他们新单身好友是否还可以的角色。每个人似乎都同意幸福或至少解放是最崇高的目标。但是，不惜一切代价追逐自我实现的特权带来了失败的恐惧，就像蓬勃发展的鼓声一样沉重，蓬勃发展的鼓声蓬勃发展。丹妮尔（Danielle）在某一时刻引用了鲍勃·迪伦（Bob Dylan）1965年的话：“独自一人感觉如何？”她在社会革命的曙光中重复一个问题，该革命的效果，声音和精神上的涟漪一直在继续。
