A Glimpse into Harry’s House
Sounds | Ella Bowles
Graphic by Olivia Hadfield
Coming up on the one-year anniversary of Harry Styles’ third studio album – released May 20th to be exact, what better time than to revisit the delicacy that is Harry’s House?
When I first saw the neutral-toned, homey cover art for this record, I expected an acoustic-style album, much like Styles’ first self-titled album (a.k.a., HS1). Though he tinkered with the folksy elements of an acoustic sound on his second album Fine Line with tracks like “To be so Lonely”, “Cherry” and the titular track “Fine Line”, he’s also released some rather opposing tracks as well, ones like “Treat People with Kindness” and HS1’s “Woman” or “Kiwi”. In the best way, Harry Styles’ - especially being a new artist, solo speaking – doesn’t really have a specific sound. Sure, he has an identifiable voice, and his records are, in my own opinion, uniquely his but he is still an experimental musician. His exploration of a new genre or style with each new album made pinning down the genre of Harry’s House pre-release near impossible.
Once again, in the best way possible, nothing could have prepared me for what the album would come to be.
Opening with “Music for a Sushi Restaurant”, the feel of the album is so far impossible to really put a name to. Though lots seem to pin this track as rather commercial, gap advert-esque, I beg to differ. Audibly, this is a satisfying track – especially with headphones in; The Dolby atmos sound makes for a near–cyclical audio experience. Too, the song perfectly executes the use of a horn section – something Styles is known for on stage, but prior to the album’s release, had seldom fully featured them in a studio song. Lyrically, this song is out there. While still paying homage to classic “sushi restaurant” features with lines like “green eyes, fried rice, I could cook an egg on you” and “from ice on rice”, the song also toys with lyrics (and some interesting ad-libbing) that are rather non-sensical – take “if the stars were edible” for example - and pretty much leave you open to interpret it however you like.
The album carries through to “Late Night Talking” - a short and sweet piece, keeping it simple. The studio version, while great, is not nearly as good as the version he performs live with – much like the likes of Sushi – lots of horns and brass sections mixed in. The more electronic sound of LNT makes it quite unique and an easy listen. It’s super catchy and keeps it simple. While not the most show stopping, it keeps classic status in his discography.
“Grapejuice” follows; If summer were a song, in my opinion. Lyrical visuals of sitting in the garden and drinking red wine really set the scene for this one, and an upbeat backing track, complete with whistling and just the right amount of echo to the deeper backing vocals makes this the perfect sunny day song. As a bonus, those who enjoy “Grapejuice” would likely appreciate “Sunflower Vol. 6”, a track from Fine Line which boasts a similar summer’s day energy about her.
Now, the fourth track on Harry’s House is undoubtedly the most well-known among the mainstream. “As It Was”, though a pop smash-hit (nearly 2 billion streams!), is as raw as they come. The song tackles some dark themes of split families, living in lockdown, coping mechanisms and reflection on realizing it really is not how it used to be and may never be “the same” again – all while having a super upbeat and pretty joyous backing beat. The two mingle together well to create a strong experience of the song – sure, life is tough, but if we must go through it, we might as well dance around a bit along the way.
One of, if not my most favorite tracks of the album (actual ranking to come below) follows “As It Was”. This is “Daylight”, a gentle, soft-pop track that brings a really sweet and intimate note to the album. Lyrically, this track is just perfect. Prior to the album’s release, an interview of Harry’s with Better Homes magazine was released, featuring a couple of lyric grabs to get people riled up for the big release. Seeing Daylight’s lyrics “If I was a bluebird, I would fly to you/You'd be the spoon/Dip you in honey so I could be sticking to you”, I was sold on this one. Musically, Daylight returns to a sound that is nearly reminiscent of the 1D era of Harry Styles – an upbeat, rock-ish bridge that adds a bit of a shake to this otherwise mellow track.
“Little Freak” is the first ballad of Harry’s House and completely shifts the tone of the album – a palette cleanser, if you will. The title misleads you completely with this one, expecting a song more reflective of Styles’ rock influences and past tracks like “Only Angel” or “She”. Instead, we get a bit of a tear-jerker. One of my favorite theories around the subject of the song is that Harry wrote it for a plant of his, saying “you sit high atop the kitchen counter/stay green a little awhile”. Though it’s just a theory, I think it’s a pretty darling interpretation. As mentioned, this is a different tone from the prior five songs, featuring some softer acoustic-sounding elements. While the lyrics are beautiful, if you get a chance to listen to the instrumental version, you will not be disappointed.
Staying on the emotional train, Styles rather viciously follows “Little Freak” with “Matilda”, reaching out a hand to those who’ve never really felt loved or accepted in their own families, and thus turn to their own devices to create what feels like “home” to them – much like the songs name's sake, Rold Dahl’s Matilda. Again, this is an acoustic mix of piano and guitar and is incredibly gentle. This song is warm but addresses the cold – much like “As It Was”. Moreover, this song is one that’s malleable, and you can make it your own. Matilda speaks to those who’ve never felt love, those who are looking for it and even those who are solely just struggling with the fact that childhood is over, and it’s time to start a new chapter. Whichever version of her you are, this song has you pinned down and is there to tell you it’s okay to go through it.
After the cry-fest of “Little Freak” and “Matilda” comes “Cinema”. This is a rather disco-reminiscent track, bringing that element of 70s style that was lost on “Late Night Talking”. The backing track for this one is unreal and carries elements reflective of Donna Summer’s “Love to Love You Baby” or BeeGees’ “Night Fever”. “Cinema” is uniquely its own. Much like “Music for a Sushi Restaurant”, it boasts an atmospheric mix when listening on a sound system, making it an easy listen. Though you may want to “put the kids to bed”, as they say, for this one, “Cinema” is a stand-out track on Harry’s House and is undeniably timeless.
The disco trend carries through into “Daydreaming”, sampling a 1978 Brothers Johnson track titled “Ain’t We Funkin’ Now”. Produced by Quincy Jones, an icon in the Motown scene since the 1950s, it’s not hard to see why Styles was drawn towards the bright, brassy elements of the track. “Daydreaming” is light and danceable, and the lyrics perfectly mesh with the tone of the song. Though admittedly not one of my personal favorites, the homage to past greats makes it pretty solid, and, once again, maintains a timeless status.
“Keep Driving”, like “Daylight”, is one of my favorites off the album. This song, to me, is perfect. The lyrics are incredibly gentle and visual. Bringing lines like “Hashbrown, egg-yolk, I will always love you” and “Black and white film camera/Yellow sunglasses” makes it quite a fluffy piece. Not to mention, this song has an incredible bridge. The song comments on what it is to really be a collective force with another person – rather than going through the weirdness of what life tosses at us all alone, you “keep driving” through with the person you’ve learned to trust most of all. The backing track of this song starts quite gently, then goes into a strong rock sound in that bridge, much like “Daylight”, giving a great mix of sounds all in one wonderous track.
Keeping on trend with favorites, “Satellite” follows. First and foremost, the drumming on “Satellite” is unreal - just incredible. In the ending bridge, there is a drum pattern that, first time around, you might miss. After a few listens (because you just can’t listen once) you realize the ability of the track, making for a rather exciting piece. The lyrics beg attention – talk of being “right there” for a person, but they just don’t see it; Once again, vulnerability takes the stage.
Returning to the acoustic ballad, “Boyfriends” makes an appearance as the penultimate track on Harry’s House. Contrary to the general consensus among fans and causal listeners alike, usually named the skip of the album, I think this song deserves all the love. It’s certainly more stripped down than the others on the album – reminiscent of some “just me and my guitar” style pieces of the past. Also, drawing comparisons to an earlier album, “Boyfriends” shares a bit of a likeness to the melancholic “Cherry” of Fine Line. Like “Late Night Talking”, this piece first featured at Coachella (prior-to studio release) and stunned with just vocals and guitar, as well as a completely hushed audience. Though it may never get that environment of complete wonderment again, it still is just as masterfully beautiful on the album as it is on stage.
Lastly (and maybe second-to-least?) is “Love of My Life”. While namesake to the classic Queen song, “Love of My Life” avoids the acoustic and goes for a more The Neighborhood-esque approach (“Sweater Weather”, “Daddy Issues”). Its darker sound and lighter lyrics once again make a great mix and strong closer for the album. Though, as mentioned, not a personal favorite, it sums up the album well and doesn’t leave you with any sense of incompletion.
The mixed nature of Harry’s House, combining styles both classic and contemporary, makes it what it is. It may not be for everyone start to finish, but it is sure to boast at least one track you’d pop on a playlist or have around to listen to in the background. Harry’s House is an articulate mix, and its nuanced sound – comparing to Styles’ earlier works – begs the question of what’s to come next in the Harry Styles album.
My personal track ranking:
Daylight
Satellite
Keep Driving
As It Was
Music for a Sushi Restaurant
Grapejuice
Boyfriends
Cinema
Little Freak
Matilda
Late Night Talking
Love of my Life
Daydreaming