That’s thanks to their parents, who started their daughters’ musical education early: their mother, Donna, an art teacher turned real estate agent, taught them guitar, after their father, Moti, a real estate agent and former professional soccer player in his native Israel, started them on drums. “We still have three drum sets set up in our living room,” Donna Haim said in a phone interview. When the two youngest were still elementary-school age, Mr. Haim came up with the idea to start Rockenhaim, a family band that played covers of classics like “Mustang Sally.” Their first gig was at Canter’s, the famed Los Angeles deli, where they were paid in matzo ball soup (a “win-win!” according to Este and Alana).

They played at street fairs and charity events, never for money; at home, they pretended to be the Spice Girls (two Sportys, and Este was Ginger) and dissected the classic rock songs and disco numbers their parents listened to. “That’s how we figured out how to write music,” Alana said.

“And that’s how we learned how to jam, too,” Este added. In conversation, Alana is the most voluble and profane, Danielle the most precise and serious-minded and Este the most likely to throw on a funny voice. She also is prone to break into what’s known as “bass face,” a series of gloriously contorted expressions when she’s performing — but so, her sisters protested, do they, when they play their instruments. And it’s true: The finale of their recent set at Glastonbury was a maelstrom of weird grimaces and whirling, gold-tipped locks as they drummed in unison. And they’re effortlessly in sync in other ways, too.

“They can break out into three-part harmony truly naturally,” said Rostam Batmanglij of Vampire Weekend, who produced two tracks on “Something to Tell You.” “They don’t think about it. If one of them is singing something, they’ll arrange the parts just off the top of their heads, and I hadn’t really witnessed that from anyone that I’d worked with.”

While recording “Something to Tell You,” they met every day in studios — four for the drum parts alone. Each space was from a different era, which translated onto the album. At Vox Recording, which dates to the 1930s, “it’s just linoleum floors, so it sounds very live,” Danielle said. “We recorded with one mike in the back of the room.” Sunset Sound had “more of a ’70s, tight wood sound. You can really hear the warmth of the drums.”