At this point, Harry Styles has long ceased to be the “former member of One Direction.” With three studio albums released, the British artist has been building his own sound and personality, achieving the difficult feat of remaining relevant and becoming the world’s number one singer. After Adele, he is likely to be considered the biggest act of what some call the third “British Invasion.”
The way he has built this image is somewhat intriguing. Although “Harry’s House” tries to convey the idea of intimacy and relate aspects of “home” to the singer’s feelings, the sound and topics remain practically the same as in his previous albums. The foundation always harkens back to the indie pop of the past decade, with a vintage rock star aesthetic. It’s not like he doesn’t do it well; in fact, his music captivates large audiences. But despite creating this “peculiar” image, a significant portion of his repertoire seems to remain unrealized potential.
One could discuss the banal lyrics or the fact that the production always relies on safely reimagining popular classics, but his songs are still enjoyable. A superficial listen or one without much commitment can entertain you enough, and even though he repeats certain composition strategies from song to song, there are moments that hook you (even if not in the best way), such as the post-chorus of “Daylight” and “Satellite” that create an unexpected rupture. Additionally, the lead single “As It Was” and “Matilda” are the most well-executed and charming. “Music for a Sushi Restaurant” and “Daydreaming” have an upbeat groove, while other tracks, like “Grapejuice,” rely on a catchy chorus.
However, the impression is that the entire aesthetic and ambiance created make the songs even more superficial. It’s as if the vocals and all the instruments are squeezed into a corner of an empty room. For such a personal album, there are few moments where Harry’s vocals take the spotlight – something that can be observed in all of his works but becomes more evident here with the increased use of electronic instrumentals. It’s the kind of album that will likely sound much better live, as some performances on shows and at Coachella have already proven.
RATE: 68
