Ahlgrim: "Harry's House" is the most adventurous album Styles has ever made and the most compelling he's ever sounded.
On his self-titled solo debut and, to a slightly lesser extent, his sophomore release "Fine Line," Styles could sometimes get lost in his tangled array of influences and the frantic rush towards acclaim. It's obvious that Styles wants to prove himself as a serious musician, and he deserves that reputation.
But there's more than one way to become a legend, and with "Harry's House," Styles allows himself to imagine new avenues of intrigue and splendor instead of following the familiar paths of his idols.
Being less precious about the creative process has apparently allowed Styles' instincts to flow more freely, transcending the pressure of who's allowed to make "fun music." On "Harry's House," he finally sounds more influential than influenced. The bangers are bigger and bolder; the ballads practically bleed with compassion. (I was never a fan of the melodramatic "Falling," whereas songs like "Little Freak" and "Boyfriends" communicate pain with undeniable authenticity.)
I've seen some criticism of Styles as a songwriter, particularly when it comes to his whimsy and fierce protection of personal details. But I would argue that Styles' magic is the open invitation to interpret — even to project your own needs, whims, and fantasies onto the canvas he earnestly offers.
If it's diaristic, open-heart-surgery-style music you're looking for, there are other artists who are happy to oblige. But if it's fistfuls of charisma and fruity allusions you're looking for, there's no one doing it like Styles.
Larocca: Styles may be cursing the daylight on "Harry's House," but that's exactly what his third solo album sounds like. Listening to these 13 tracks feels like being bathed in sunlight — warm, free, and like you've just been dosed with some much-needed vitamin D. They'd be at home in a convertible on its way to the beach, at a picnic in Central Park, or playing through your speakers on a sunny Sunday afternoon in June.
On "Harry Styles" and "Fine Line," his influences came through loud and clear; it was obvious Styles was trying to emulate iconic rock stars or musicians he grew up with. That's not inherently a bad thing — music isn't made in a vacuum; trying to remain uninfluenced is an impossible task — but even after leaving One Direction, Styles remained associated with other acts.
Now, he's finally making music that is distinctly, and only, Harry Styles. He seems completely at ease here: he's having fun, he's invoking some of the most intimate imagery of his career, and he's playing around with new instruments, textures, and effects. He also knows when to double down on his own signatures — no one but Styles could get away with labeling being wine drunk as having the "grapejuice blues."
So if "Harry's House" is where Styles is heading when he asks if he should just keep driving, say yes.
Worth listening to:
"Music for a Sushi Restaurant"
"Late Night Talking"
"Grapejuice"
"As It Was"
"Daylight"
"Cinema"
"Daydreaming"
"Keep Driving"
"Satellite"
"Love of My Life"
Background music:
"Matilda"
Split decision:
"Little Freak"
"Boyfriends"
Press skip:
N/A
*Final album score based on songs per category (1 point for "Worth listening to," .5 for "Background music," .5 for "Split decision," 0 for "Press skip").