Finally, it’s here.
A wave of funk-pop-alt-rock genres that strikes this record in a tasteful course of rollercoaster highs and lows.
Starting off with the highly anticipated ‘Music For a Sushi Restaurant’. It boosts the record on a disco-funk-like vibe. It’s fun and quick, the vocals are subtle with a mix of chaotic ad libs to fuel the fun. With an obvious inspiration from the 70’s and 80’s, ‘Late Night Talking’ takes on the the formation of a theme-song-style track. It’s upbeat and consistent with its pace, a harmless fun-loving song to indulge and maintain the high spirits.
It wouldn’t be a Harry Styles record without a fruit-themed title. Speaking of, ‘Grapejuice’, sharing characteristics with Sonny and Cher’s 70’s pop genre with a strong beat and delicate vocals made with a particular quirk of effects over the verses, diving back to the old school sentiment, “1982 / Just me and you / There’s just no getting through / The grape juice blues.”
‘Daylight’ brings a sense of cheerfulness with hidden metaphors exploring the explicitness of life that comes of a 20-something pop/rock star. “Reading your horoscope / You were just doing cocaine / in my kitchen.” Possessing a sexy, mellow glow to the words muttered through metaphors, similarly to later track ‘Cinema’. Verging on taboo, in an almost ‘should I be hearing this?’ moment, Styles reminisces about the feelings of lust and desire whilst maintaining his British boy class.
The inevitable undertone is brought along with ‘Little Freak’ and ‘Matilda’. Both claiming an impression of adolescence and innocence, perhaps fuelled by the overall hum of each tune and the respective use of lyrics to create a sense of purity; “You don’t have to be sorry for leaving and growing up.”
Casting back to his previous solo workings ‘Harry Styles’ and ‘Fine Line’, ‘Daydreaming’ in particular seems to bring out the Harry we all know. The cheeky melody and hippie warmth exhibiting similarities to previously loved anthems such as ‘Carolina’ and ‘Canyon Moon’. The background chorus animating the daydream frenzy and intense vocals only building as the music goes on.
What feels like a shoot back in time, ‘Keep Driving’ resembles 80’s synth music. It’s gentle and soothing, obtaining resemblance to The Japanese House’s ‘Cool Blue’, particularly the consistent backing theme of the up and down tone.
‘Boyfriends’, the penultimate track and possibly the most compelling creation from the album. Opening up with a reverse of vocals and guitar, making a melody both unusual and angelic.
The contrast between verse and chorus is a style explored in both ‘Satellite’ and ‘Love Of My Life’. A juxtaposition between music and lyrics, and lyrics and meaning is what makes these two tracks unforgettable, a flawless round off to ‘Harry’s House’.
Anna Scrimgeour
@anna.scrim
Image: ‘Harry’s House’ Official Album Artwork
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