HAIM I quit

Critic's Take

In a clear-eyed appraisal, HAIM’s I Quit finds its best moments in muscular rock songs like “Down to Be Wrong” and “All Over Me”. Matthew Dwyer emphasizes how tracks such as “Down to Be Wrong” trade pop gloss for a crescendoing, liberatory guitar fury, while “All Over Me” converts country sentiment into an escalating rock catharsis. The review frames these best tracks as proof that Haim do not need pop hooks to make compelling music, and that their California-rooted mythology informs the record’s tone. Overall, the critic presents the best songs as focused, restless rock performances that define the album’s strengths.

Key Points

• The best song is "Down to Be Wrong" because it channels rock restlessness into a cathartic crescendo that defines the album.
• The album’s core strengths are its recommitment to moody rock, vivid California-rooted storytelling, and shedding pop decoration for rawer performances.

Critic's Take

HAIM approach I quit like survivors reclaiming themselves, and the best songs - notably “Relationships” and “Gone” - do the heavy lifting with bruised hooks and clear-eyed lyricism. The record finds its sweetest moments when Danielle leads with intimacy and the sisters’ harmonies act as armor, so the best tracks on I quit read as small, wound-up victories. It is messy in the right ways, trading the tidy alt-pop of the 2010s for looser, more human textures that make songs like “Lucky stars” and “Million years” land emotionally. The result is a varied-but-very-enjoyable return that contains some of HAIM’s best songs to date.

Key Points

• “Relationships” is the best song because it balances nostalgic hooks with sharp, contemporary lyrics about partnership.
• The album’s core strengths are honest lyricism and a willingness to fuse HAIM’s past sounds with looser, more organic textures.

Themes

Critic's Take

In her typically exacting voice Lucy Fitzgerald finds the best songs on I quit where HAIM marry humour to hard-won growth, and she highlights “Relationships” and “Try to feel my pain” as the album's clearest victories. Fitzgerald praises “Relationships” as a sensual, career-best track, noting sticky pre-choruses and masticating percussion that make it a standout. She also singles out “Take me back” and “Blood on the street” for vivid imagery and Joni-/Imogen-referenced flourishes, framing these as the moments when HAIM's freedom feels most earned. The review positions HAIM's record as brilliant, then wandering, then brilliant again, so the best tracks are those that balance wit, melody and catharsis.

Key Points

• Relationships is the best song for its smart melodies, sticky pre-chorus and sensual, career-best impact.
• The album's core strengths are witty self-reckoning, varied melodic craftsmanship and moments of vivid lyrical imagery.

Themes

Critic's Take

HAIM's I Quit is a record of flirtations with radio-friendly pop and occasional gutsy detours, and the best songs—like “Relationships” and “Take Me Back”—show both tendencies in relief. Tom Williams writes in a candid, evaluative tone, praising “Relationships” for its breezy, memorable hook while singling out “Take Me Back” as the album's most impacting, least pretentious moment. He also celebrates the closing pair, particularly “Blood on the Street” and “Now It's Time”, as revealing where HAIM could and should head next. The review balances admiration for these highlights with frustration at the album's lyrical lapses and middle-section sameness, offering a clear answer to queries about the best tracks on I Quit.

Key Points

• The best song is "Take Me Back" because it combines vivid, fast-paced memories with genuine emotional mourning.
• The album's core strengths are catchy pop hooks and occasional bold, genre-mixing moments, offset by uneven lyrics and a safe middle section.

Themes

Critic's Take

You’ll want to floor the accelerator and crank the volume on I Quit, because HAIM have delivered a sunsoaked run of hits where “Relationships” and “Take Me Back” stand out as instant road-trip classics. The reviewer keeps pointing to catchy yet complex songwriting - especially on “Relationships” with its mid-1980s Top 40 sheen - and the pogo-worthy, punk-tinged chorus of “Take Me Back” as reasons these are the best songs on I Quit. Other highlights like “Lucky Stars” and “Blood On the Street” show the trio’s genre-hopping bravado, making clear why listeners will call these the best tracks on the album. Overall, the record feels like a cohesive, convertible-rock statement that rarely shows a seam.

Key Points

• “Relationships” is the best song for its slick production and 1980s Top 40, New Jack swing fusion.
• The album’s core strengths are catchy, complex songwriting and fearless genre-mixing that make it ideal for summer road trips.

Themes

Critic's Take

Helen Brown hears a muscular, swaggering momentum across I quit, and she points to songs that carry that energy best. The opener “Gone” is singled out as a bona fide bop, its clipped guitar and Keith Richards-esque solo giving the record its swagger. Brown praises the poppier synth-backed “Relationships” and the Crow-leaning grit of “Down to be Wrong” as standout tracks that showcase Haim’s new, fun-forward attitude. Even when the album overreaches at 15 tracks, those best songs prove the sisters still know how to move a listener physically and emotionally.

Key Points

• The best song is the opener “Gone” because its clipped guitar, swagger and solo make it an immediate bop.
• The album’s core strengths are momentum, varied genre strides and a confident, fun-forward attitude from the Haim sisters.

Themes

Critic's Take

Kudos to HAIM for titling I quit so bluntly, and the record rewards that affront with tough, rueful songs like “Gone” and “Now It’s Time” that make the case for why they quit. Chris Willman’s voice finds the band leaning into rockier, rehearsal-room instincts, with tracks such as “All Over Me” and “Relationships” serving as the most raucous counterpoints to the album’s mournful core. The best tracks on I quit are those outliers that lift the mood and sharpen the band’s identity, and the closer “Now It’s Time” in particular sticks as the album’s feisty summit.

Key Points

• The best song is the closer "Now It's Time" because it reunites feistiness and catharsis with a rousing rock coda.
• The album’s core strength is focused, candid breakup songwriting paired with a leaner, rock-leaning production that spotlights the sisters.

Themes

Critic's Take

In Lauren Hague's view, HAIM return with I quit as a 90s-stuffed triumph, with opener “Gone” and mid-album gems like “Million Years” standing tallest. Hague celebrates the sisters' harmonies, genre-splicing and Danielle's signature guitar work as the record's main draws. She praises the country-tinged intimacy of “The Farm” and the shoegaze shimmer of “Lucky Stars” as vital moments that make the best tracks on I quit feel both nostalgic and freshly reimagined. The review positions these songs as proof that HAIM are primed for bigger stages and a broader cultural reclamation.

Key Points

• The best song is the opener “Gone” because it succinctly introduces the album’s full sonic and referential scope.
• The album’s core strengths are its harmonies, 90s-inspired genre fusion, and a lyrical throughline of sisterhood and post-break-up resilience.

Themes

Critic's Take

In a confident, celebratory tone Lauren Hunter positions HAIM’s I Quit around its strongest moments, praising standouts like “Gone” and “Blood on the Street” for their stadium-sized intimacy and classic-country gravitas. The review leans into the album as a patchwork of genres, noting how tracks such as “Take Me Back” and “Relationships” reinvent influences while remaining unmistakably Haim. Hunter’s voice is buoyant and assured, claiming these best songs define the record’s leap - festival-ready, crowd-pleasing and artistically adventurous. Overall, the critic frames the best tracks as the ones that expand the band’s palette while delivering immediate, memorable hooks.

Key Points

• The best song is "Gone" because it combines visceral intimacy with stadium-scaled hooks and was singled out as one of the album's finest moments.
• The album’s core strengths are its genre-spanning patchwork, confident songwriting, and harmonies that balance crowd-pleasing immediacy with adventurous sonic exploration.

Themes

Critic's Take

HAIM make a compelling case for the best songs on I quit by foregrounding breakup clarity and musical invention, especially on “Relationships” and “Cry”. Sam Rosenberg’s tone is admiring and granular, noting how “Relationships” crackles with '90s R&B production while still carrying HAIM’s angsty DNA, and how “Cry” reunites the sisters’ voices into a rousing, full-circle ballad. He emphasizes that the album’s strength lies in translating self-advocacy into catchy hooks and bold production choices, making tracks like “All Over Me” and “Million Years” feel like real treasures. The result is an animated, unbothered record that balances messiness and charm while proving HAIM have new room to play.

Key Points

• “Relationships” is best for its sparkling production and honest, groovy reflection on modern dating.
• The album’s core strengths are cohesive breakup themes and bold, playful production that lets HAIM experiment.

Themes

Critic's Take

HAIM arrive on I quit with a quieter, sharper set of best songs that trade huge reverb for lo-fi crunch and candour. The reviewist privileges “Gone” as a declarative opener, and points to “All Over Me” and “Relationships” as livelier, joy-fuelled highlights - songs that show why listeners ask "best songs on I quit" and find these tracks immediately. The writer also elevates Alana and Este’s vocals on “Spinning” and “Cry”, arguing those moments feel like revelations rather than mere album adornments. Overall, the best tracks on I quit are praised for intimacy, emotional bluntness and pop craft that chooses tenderness over spectacle.

Key Points

• The best song, notably "Gone", is best for its defiant opening, lo-fi crunch and memorable sampled flourish.
• The album's core strengths are intimate songwriting, stripped-down production and powerful sisterhood vocals.

Themes

Critic's Take

In his brash, celebratory tone Ben Tipple frames HAIM's I quit as a liberated, middle-finger record, singling out “Take Me Back” and “Million Years” as the album's most vivid moments. He celebrates the riotous nostalgia of “Take Me Back” - a rosy, messy pickup-truck vignette - and praises the bedroom-pop adjacent beats of “Million Years” as a heavy upgrade. The review locates the album's core strengths in its biting satire, Southern-style guitars and newfound dance heft, and concludes that the closing “Now It's Time” provides a liberating, final let-go. This makes the best songs on I quit feel like triumphant proof of the trio's new freedom rather than stylistic reinvention.

Key Points

• “Take Me Back” is the best song because it delivers riotous nostalgia with vivid, drug‑tinged storytelling.
• The album's core strengths are liberated self‑defiance, Southern‑tinged guitars, biting satire, and new dance-forward production.

Themes

Critic's Take

In this review Cam Delisle hears the best songs on I quit as those that distill HAIM's knack for bittersweet, sun-soaked melodrama. HAIM land hard with “Relationships” — a deceptively straightforward lead single primed for summer-anthem status — and the George Michael-sampling opener “Gone”, where Danielle comes out swinging with a quiet ultimatum. The review also praises the instinctive shimmer of “Million years” and the dusk-lit dancefloor melancholy of “Spinning”, framing them as highlights that prove the trio's feel remains singular even as the record prefers recalibration over risk. Overall, the critic presents these tracks as the standouts that best express the album's theme of betting on yourself and quitting what does not serve you.

Key Points

• The best song is the punchy opener "Gone" because its George Michael sample and ultimatum lyric embody the album's betting-on-yourself ethos.
• The album's core strength is its singular, instinctive sound that merges heartbreak, nostalgia and recalibration without abandoning clarity.

Themes

Critic's Take

HAIM’s I quit reads like a fond continuation of familiar strengths, and the best songs - notably “Relationships”, “Gone” and “Spinning” - make that case plainly. David Cobbald's tone is measured and affectionate, noting how “Relationships” leads the singles while “Gone” and “Spinning” supply surprising thrills and textural variety. He praises the trio’s knack for weaving decades of influence into playful, purposeful instrumentation, even as a few tracks crave more force. The review positions these standouts as the clearest answers to queries about the best tracks on I quit without demanding a reinvention.

Key Points

• “Relationships” stands out as the leading single and clearest showcase of the album’s strengths.
• The album’s core strengths are thoughtful songwriting, tight production, and three-part vocal cohesion rooted in decades of influence.

Themes

Critic's Take

In a voice that alternates between wry and exalted, HAIM make I quit a record about walking away and the messy aftermath, and the best songs - notably “Down to Be Wrong” and “Blood on the Street” - land that feeling with real punch. The reviewer praises how “Down to Be Wrong” belts a heroic, apathetic adieu while “Blood on the Street” reads as a rustic, Cat Power-esque farewell, which is why fans asking "best tracks on I quit" will point to those moments. At the same time, the album’s unevenness and nostalgic indulgences mean the best songs shine by narrowing focus and delivering emotional clarity rather than sprawling stylistic turns.

Key Points

• The best song, “Down to Be Wrong,” succeeds by delivering a clear, heroic break-up declaration.
• The album’s core strengths are its focused emotional moments and nostalgic American rock textures.

Themes

Critic's Take

In a voice that registers equal parts frustration and sympathy, HAIM on I quit feels like a band mid-rebuilding, with bright moments such as “Lucky Stars” and “Spinning” surfacing amid uneven stretches. Mary Kate Carr notes that the front half outshines the back, and that songs like “All Over Me” and “Try To Feel My Pain” point to influences rather than a singular 2025 HAIM identity. The record reads as fumbling and experimental, a transitional document that nonetheless contains the high points proving HAIM will find their way forward.

Key Points

• The best song moments like "Lucky Stars" crystallize the band’s strengths in texture and mood.
• I Quit’s core strengths are strong songwriting and musicianship, even if the album is scattershot and transitional.

Themes

Critic's Take

HAIM's I quit finds its high-water mark in the ecstatic “Relationships”, which the reviewer calls "the best pop song they’ve ever made" and a moment where I Quit peaks. The reviewist praises the inventive, belatedly brilliant opener “Gone”, even as it faults the band for stumbles like “All Over Me” - the record is sonically scattershot but often rewarding. Tracks such as “Take Me Back” and “Million Years” are singled out for clever moves and bubbly production that keep the album from feeling one-note. Overall the record is messy, candid and ultimately worthwhile, a portrait of liberation that yields several of the best songs on I quit.

Key Points

• The best song is “Relationships”, labeled by the reviewer as "the best pop song they’ve ever made" and where the album peaks.
• The album's core strengths are its candid heartbreak narrative and moments of bold experimentation that refresh Haim's soft-rock foundation.

Themes

Critic's Take

In a sun-drenched, slyly defiant register Angie Martoccio argues that HAIM's I Quit is at its best on the bruised, arena-ready “Relationships” and the Americana-glazed “The Farm”, songs that crystallize the album's breakup-and-independence concept. She writes with the same warm, music-nerd relish that runs through the review, noting how Danielle's vocals and Este's bass make “Relationships” a centerpiece and how “The Farm” channels Levon Helm-era soul. The review frames the record as a cohesive, cathartic summer statement, emphasizing Haim's ability to turn personal dissolution into widescreen, singalong triumphs. This voice keeps the reader primed for queries about the best tracks on I Quit by foregrounding those standout moments without losing the album's sunsoaked mood.

Key Points

• “Relationships” is best for its glossy grooves, killer bass line and status as the album's ignition point.
• The album's core strengths are cohesive concept storytelling about breakups and an expertly sunlit, classic-rock-informed sound.

Themes