Just to set records straight, I've never been a fan of One Direction's work - I thought their music was uninspired and devoid of character or individuality. Catchy, yes, but that's never a gateway to mainstay music or poignancy. Nevertheless, I have high hopes that Harry Styles' debut album as a lone songwriter could be promising. First impressions are always related to the cover, and it has already made me question my decision.
However, listening to the first two tracks, there's definite potential here. Sombre and dragging in parts, like someone pulling a sack along the floor, it's already clear there's a certain audience target for this album. I must admit though, that Sign of the Times is a good single, even if the guitar-play doesn't change, not even to change a chord. Styles does have a good voice though, and his capability in the higher octave does amaze me - he has clearly trained well. The second two tracks get a little more upbeat, and there's a genre transformation, becoming very old-fashioned in my opinion. More Beatles than anything I've ever heard in any new music. Two Ghosts is amiable with a nice guitar riff, paralleled by Styles' high voice. It's probably good to daydream to, but nothing further. I don't doubt that his music is nice on the ears, it just doesn't attempt to challenge me or engross me emotionally - even if the weepy guitar is begging to be loved. The second big single, Sweet Creature, is another example of good guitar work, that has me thinking about Fleet Foxes, but as the song is only filled with Style's voice and a guitar, there's not much happening at all - a pity, considering how good this might have been with some subtle percussion. It's clear that Harry Styles has gone back to the old classics to find inspiration, but it does nothing to shake up the current music field, most of the work in the second half of his debut album is filled with rehashes of old stuff - Kiwi in particular is actually a bit embarrassing especially as Styles doesn't change from singing one note constantly. Finally, Ever Since New Work demonstrates good use of percussion, that provides a sincere rhythm to the song, and it's complemented well by the already strong guitar and voice. Probably the best track on the album, but it still doesn't resonate with me as an instant classic, or anything that will stick with me for a while. The bass on Woman does have some great rock vibes, but it doesn't go beyond the reference, as the song is completely ruined by this incessant noise that keeps repeating throughout the song. Going back to sombre doesn't exactly help the denouement of the album, but it does define the album well. This is a bold attempt at nostalgic discovery of music that is invincible to modern touch, unless it's done by the same musicians who did it back then. 5.5/10
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AuthorA very passionate Welsh nerd... Archives
October 2017
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