Like his introduction as Eros, Thanos’ brother, in a post-credit scene for Marvel’s Eternals, Harry’s House oozes out Harry Styles’ sex appeal with some horny pop songs. Though it isn’t far from Harry’s usual trove of pop songs, it’s heightened and more fluidly resonates as he takes us on this tour. And this tour isn’t rudimentary, as Harry’s House speaks more about the inner workings of Harry, both musically and where he’s at mentally. His last album, Fine Line, contained the essence of but wasn’t limited. The ratio slightly skews, even though it’s not saying much compared to his vocal performances. Harry’s lusty and sultry vocals get balanced by tender moments, where We hear him break into ballads that carry nuance and some vibrancy even when the content isn’t appealing. Harry’s House sees Harry continuing to stride as we listen to him morph with different styles that have been part of his musical bag. This time, Harry is building toward another essential groove that keeps you focused on his melodies, the production, and songwriting, for the most part.
It doesn’t take long for Harry Styles to lay down luscious vocals while producers elevate the flare on the tracks. Kid Harpoon and Tyler Johnson bring an essence of style, keeping each aspect of the production interesting as it transitions from verse to chorus, pre-choruses, bridges, etc. It keeps you on a consistent trend upward with the middling ballad to mellow down. It leaves you vibing from shimmering styles that range with smooth progression like on “Late Night Talking” and “Day Dreamin’.” Though there may be some crossover, they each feel fresh, emboldening the identity. It’s the case with the songwriting, where Harry and co-writers can keep it centered on the model without losing your ears, even if it’s sushi or film.
It’s beneath the production where we hear the essence of his songwriting in certain songs that gets down to the nitty-gritty. In “Cinema,” where he sings, “If you’re getting yourself wet for me/I guess you’re all mine/When you’re sleeping in this bed with me.” Or on “Daydreamin,’” where he sings, “Livin’ in a daydream/She said, “Love me like you paid me”/You know I’ll be gone for so long/So give me all of your love, give me something to dream about.” It isn’t every track, as Harry Styles gets introspective and laments about past relationships through these whirly pop songs that get you on your feet, grooving to the beat. It’s not a transcendent feeling, but you get left with a platter of solid music whose earwormy characteristics gloss over.
Harry’s House is full of different styles that buoy elements of funk, disco, dance, and soul, getting used as these remarkable building blocks over its Pop/R&B core. It gives us exuberant sounds, captivating your ears like previously mentioned songs, “As It Was” and “Daylight.” It’s delivering you synth-pop, dance-pop, some funk-pop, and more with tremendous effect. It’s taking you by the horns and driving you through varying levels of groovy fluidity. Though Kid Harpoon and Tyler Johnson produce most of the tracks, Samuel Witte delivers some work on the previously mentioned “Cinema,” an Alternative Dance-Pop song that contains nuances of disco and funk, especially with its bassline. It brings back the groove and mood after some ballad/slow songs. Unfortunately, Harpoon and Johnson are responsible for the uninteresting “Keep Driving.”
Harry’s House has more shortcomings, like two ineffective ballads in “Boyfriends” and “Matilda” and poorly delivered concepts, like “Grapejuice.” Despite great production, the melodies aren’t captivating, and the message isn’t transparent. The song’s about taking himself away, with his significant other, from stressors, particularly somewhere with solidarity and a bottle of Rouge (wine). It doesn’t have staying power, like two ineffective ballads that are mundane. “Boyfriends” is this soft acoustic ballad that sees Harry singing about a boorish boyfriend in a relationship but treads typical waters without creating an emotional gravitational pull. “Matilda” sounds like a slightly tedious one that doesn’t stray far from conventions. It has some more emotional impact, but it’s hard to get through a third-person perspective that speaks on how the whoa-is-me of another person. It isn’t like “Little Freak,” which takes root in personal experiences that give you something to latch on to, similarly to the radiant “As It Was,” where Harry sings about feelings of loneliness, looking back at his past in the process.
A tour of Harry’s House is a worthwhile journey as Harry Styles beautifully evokes remarkable performances. It’s slightly intuitive but emotionally potent as it weaves this array of modest sunshine. There is enough for a good time and for a long time, as the vibrant production whisks you away into dance-bliss before leaving you with a triumphant synth-pop track in “Love Of My Life” that will keep the mood flowing upon letting it repeat. I know it did with me, and I hope it does with you.