Este, Danielle and Alana Haim are arguably Los Angeles stalwarts by now. Their presence in the city’s scene (and the world’s pop scenario) is already well established. From the music point of view, the road to that status has been quite satisfactory, but at the same time their affectionate and bright personalities have made them a peculiar triad of luminaries.

Their first record, 2013’s Days Are Gone, is an album that displayed equal parts of 70s nostalgia and a pure modern pop style. Like many, I was gladly amazed by the addictive grooves that drenched a record bursting with instant hooks. The summer after it came out I became obsessed with HAIM, watching every available live video on Youtube and dissecting every little part of the album. They have a particularly good live act and in the following years the sisters grabbed a lot of attention. Their popularity was benefited by the intricate relationship they’ve developed with the music scene and, of course, their own music.

There was a 4 year gap between their first album and Something To Tell You, their second release. A gap filled with many collaborations and frequent touring. And although in general that album was somewhat a dissapointment, HAIM still showcased the same joy and spark of the first one. Their resumé is already quite big, something that resulted in another three years filled with a bunch of collaborations and a lenghty tour, before releasing what is their best album to date, Women In Music Pt. III.

At first glance this album is more detailed, textured and expansive, packing a serious amount of beats, sounds and instrumental gestures that HAIM seldom used in the past. Producers Ariel Rechtshaid and Rostam Batmanglij (former member of Vampire Weekend) return to co-produce along with Danielle. It’s safe to say that the ideas they brought to the table in WIMPIII‘s predecessor, are more fleshed-out and help the sisters flourish their songwriting. The results are all the more compelling because HAIM sound more candid and personal than ever.

Opener ‘Los Angeles’ is a beat-driven ballad dedicated to their hometown, but instead of being romantic it’s just a sweet recount of their personal experience living in the city, and musically it’s a rounded introduction to the record. Following up is a string of utterly addictive tracks. First there’s ‘The Steps’, where, over purely classic rock instrumentals, Danielle describes how her partner doesn’t appreciate when she tries to improve their relationship.

The one-two punch of ‘Up From A Dream’ and ‘Gasoline’ go as far from that first sound as possible in the record. The first one is a pulsating, groovy song with a throbbing bass line and a piercing guitar solo, which reminds me a bit of The Beatles’ ‘Revolution’ intro, cutting the track in half, quite literally. The song is driven by its creative depiction of being brought to reality after being pleasantly lost dreaming. ‘Gasoline’ in the other hand, is a track that sounds eerily influenced by Vampire Weekend’s last album. Sweet pianos, reverby guitars and that melodic chorus add another musical idea to the many this album exposes. The song pleads the need to go faster with someone that doesn’t seem to engage that much. Then again, written in very punchy and memorable words.

Women in Music Part III has another factor working on its favor. Danielle as a vocalist and the flawleesly synched harmonies of Este and Alana, and their vivid instrumentation, sound more accomplished in every track than ever before. And there’s no better example than ‘Don’t Wanna’ one of the best straightforward pop tracks of the year. A basic structure, a marvelous chorus and pristine production add up to a track that not only is an opportunity to let HAIM’s voices shine but also their magnificent songwriting. Its lyrics are as relatable as its music is danceable, and it manages to pack a satisfactory build-up towards the end. A perfect song.

If that isn’t enough, WIMPIII also includes the hip-hop and R&B influenced tracks ‘3 AM’ and ‘Another Try’, both equally well-executed to portray those sides of the band. Then there’s the folksy ‘Leaning On You’, with its piercing lyrics about loving what you have with your significant other but being afraid of what it is not. The addition of a reverby acoustic solo is great. Then Danielle uses only an acoustic guitar to accompany her in ‘Man from the Magazine’, a song that presents a Joni Mitchell influence and which only precedent is last year’s single ‘Hallelujah’.

Women In Music Part III‘s title is a little tongue in cheek. Yes, HAIM’s music deals with the utmost perennial themes of love, regret and the pain that comes with deep affection, things that were often considered intrinsic to a female pop star’s music. Danielle, Este and Alana Haim are fashionistas, they go to Oscar parties and they’re friends with Taylor Swift. But what this album establishes is that Haim have amazing musicianship and artistry (and production value) that results in unforgettable songs.

This album is also influenced by difficult personal events in the lifes of the trio but they are not explicitly recounted. They run through the record’s veins giving strength and purpose to each track. Ultimately the little pun in the title is underlined by how wonderful the songs truly are. And it is crucial to Women In Music Part III‘s success the essential manner HAIM assume the role they want and not the one they’re given. Consider me obsessed again.