These are choices that shouldn't all work in one album. Tiny Desk Harry Styles: Tiny Desk Concert These elements insert a subtle sense of unease on the otherwise breezy tunes on Harry's House. On Harry's House, Styles' moods shuffle from one bassline to the next, from the joyous, tight-harmonies of horn-led, feel good funk-lite "Music For a Sushi Restaurant" and "Daydreaming" to the mellower, mid-tempo bounce of "Late Night Talking" and churning guitars of road song "Keep Driving." Styles also seems to have discovered some of the effects pedals and vocal processing filters that powered the listless, disaffected indie-rock soundscapes of the last 15 years. At this point, three albums in as a solo artist and over a decade into his career, the unifying sonic theory of Harry Styles lies not in a specific era, but in the overall practice of a proficient but unadventurous musical pastiche. Where his previous two albums explored the whiter sounds of the '70s, from hard rock to Laurel Canyon, on Harry's House Styles is a transmigrator traveling even further afield. Sometimes Harry Styles sounds like a bot fed the prototypical Boomer parent's record collection and tasked with writing music for a modern audience - a computer program not creating new sounds so much as mashing pre-existing ones together. On Harry's House, Harry Styles' moods shuffle from one bassline to the next the album feels marked by an uncanny collision of influences.
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