The summer-jam burst of “Grapejuice” energy has arrived thanks to Harry’s House, much like the “Watermelon Sugar” summer of 2020. Everybody strap in for another summer of Harry Styles.
At the top of the album we open up with a unique twist on the contemporary funk brass that has been increasingly popularized by artists like MisterWives and Sammy Rae. “Music For a Sushi Restaurant” kicks off Harry’s House brilliantly, exciting the listener for what’s in store.
Bass driven melodies are a nice change of pace for the often-repetitive writing Styles has invoked in the past. His solo career has taken on a more solid state since his initial solo offering. While Styles’ first solo album served as an exploration of his different influences, the heartthrob has settled into what his sound truly is in Harry’s House. It’s nice to see a talent break away from a past of boy band industry cookie cutting to become an individual.
This work echoes the artist coming into his own, stylistically and personally. Styles has talked a lot about his shame ascribed to sex and fear of losing likability. After some soul searching during the 2020 pandemic quarantine (something we could all relate with) Styles explains, in an interview with Better Homes & Gardens, his newfound pride in his sexuality.
“I’m a 26 year-old man who’s single; it’s like, yes, I have sex,” says Styles. This newfound pride shines through in this latest album, shattering the heartache and insecurities of previous albums that reflect on past relationships. This album looks toward to an inspiring and sexy future.
Some Critiques
Unfortunately, the album isn’t a complete win.
Some songs serve as radio grabs, like single “As It Was” which falls back into a loop-like musicality. The chord progressions throughout the album are far from special. Songs like “Little Freak,” “Daydreaming,” and “Keep Driving” rest interesting lyric sets on chords that are all too familiar.
“Cinema” deviates too much from the general tone of the collective piece. While it may contain unique lyrics, the song’s Chromeo style fails to complement an album that so elegantly encapsulates Styles’ voice. This may be harsh criticism to put on the boy-band boy. He isn’t Radiohead, so overall expectations are met and exceeded.
Simply put, Harry’s House is joyful and structurally interesting. Peaks of high energy, valleys of emotional reflection, and a peaceful resolve effectively hold the attention of a tentative audience. It has a lot of honesty and heart while maintaining “pop album of the year” energy. Happiness and pride for a young artist who has truly found his voice within a blossoming solo career that will undoubtedly continue to quake the business.
Honorable Song Mentions from Harry’s House
“Matilda” – an emotional tale of finding one’s self despite the world you grow up in. Peppered with soft piano and guitar harmonics and a truly beautiful bridge that breaks the mold of what musical bridges typically amount to (when writing a bridge everyone does the same lazy upscale minor inflected progression that boils down to, “here’s my bridge” but this is not the case here).
“Grapejuice” – Joy in simplicity. This clean cut melodrama has soaring production value and a catchy chorus.
Image courtesy of Columbia and Erskine Records.
