Harry Styles is home, and just in time for summer.
The pop star released his third studio album, “Harry’s House,” on May 20. Fans and critics from a plethora of outlets have since devoted plenty of praise for the album.
The album was announced by Styles via Instagram, and was accompanied by the whimsical, fast-paced first single “As It Was.” The track opened up a new era for Styles, and topped charts all over the world. It had fans waiting anxiously for Styles’ newest contribution to the music world.
The start of a new era for an artist can feature a new look, aesthetic or sound. With “Harry’s House,” Styles molds all three into a more mature, curated version of his previous albums, focusing heavily on bright sounds and colors as well as a rock-based musical inspiration.
The album, which features 13 tracks and no collaborations, follows in the same lane as “As It Was,” but manages to show how Styles has improved his vocals, lyrical storytelling and production skills in the two years since his highly successful sophomore album “Fine Line.”
Opening with the banger “Music For a Sushi Restaurant,” Styles immediately brings his energy and artistic outlook for the album to the forefront. Heavy on the synth and horns, the song is a breath of fresh air and shows the upbeat, abstract theme for the following tracks.
“Late Night Talking,” both the second track and single from the album, is the next big summer hit. The lyrics are catchy, and Styles enforces his reign as the prince of pop music and radio airtime.
Though a simple and easy track, it shows Styles has come a long way from “Watermelon Sugar,” his summer song of 2020. The production value has made incredible strides, and the song has layers pop princess (and ex-girlfriend) Taylor Swift would be proud of.
Third track “Grapejuice” dives into Styles’ experiment with the psychedelic rock genre seen throughout a few songs on the album. Muted vocals and a heavy drum beat matched up against synth-heavy guitar and piano shows that this may be where Styles was meant to end up.
His smooth tone is showcased beautifully, and the overall 70s and 80s-inspired genre is something Styles excels in.
“Daylight” and “Little Freak” are true soft rock songs, and are similar to many on “Fine Line,” showing a steady progression from the former boyband member. Both tracks are short and sweet, but the well-written lyrics stand out as some of the most mature on the album.
Track seven “Matilda” brings down the energy to highlight the melancholy story told with these image-heavy lyrics. A song for all the independent and forgotten children, Styles sings words that hit just a bit too close to home for many fans, and he manages to evoke emotions in those who can’t personally relate.
Being able to have such an effect on someone who does not resonate with the lyricsis a testament to Styles’s growth and power as an artist and as a storyteller.
“Cinema” is arguably the coolest track on the album. Again utilizing that psychedelic rock thread, Styles builds with layered vocals, easy to follow lyrics and an exquisite instrumental.
Some fans may consider it a hot take, but this is his most well-produced song on the album.
Overall, the second half of the album has a higher level of production, but Styles’s personal vocals are nothing crazy. His talent and unique tone are lost in beautiful backtrack and hidden harmonies. “Daydreaming” is a beautiful song with a fantastic set of horns dominating the instrumental, but Styles’s songwriting lacks here.
Thankfully, Styles makes up for this with “Keep Driving,” where he manages to tell the story of a long-term relationship through phrases of just a few words.
The bridge of this song tells an entire story on its own, and never once throughout the section does Styles sing a full sentence. Here, Styles shows his songwriting has improved tremendously since his debut self-titled album.
Track 11, “Satellite” would have made an absolute magical final track for the album. The ending of the song, heavy on drums and synth-y vocals, feels like an outro, and would have been a perfect way to wrap the soundtrack. I wish Styles had found a way to put the following two tracks elsewhere, or make them bonus tracks to add on to the end.
There isn’t much to say about “Boyfriends,” which Styles gave a sneak preview of during his week one set at Coachella this past April. It’s incredibly reminiscent of something by famous country girl group The Chicks, and the most acoustic of the track list.
“Love of My Life,” is the second best option to end the track list with. It touches upon the themes of growth, love and individuality seen throughout the album, and does a great job of highlighting just how mature this project is compared to Styles’s previous works.
Follow Emily on Twitter @emilyhbeatty.
