Harry Styles’ ‘Harry Home’: Raspberry Drink – Culture

Harry Styles is the guy who wears well-colored pullovers, baggy pants from expensive homes or even his bare ribs adorably pictured like everyone else. A model, a dressman, is a cover boy for white middle-class flair. But also, which doesn’t even have to be a contradiction: a true artist. If it didn’t sound like fan club fantasy, one would have to say: wizard. Anyway: a friendly soul.

Because Styles, 28, an English superstar with the usual millionth album and Grammy record, has an extraordinary talent. An ability that you absolutely have to note, but unfortunately you can only explain to a limited extent. Because when he sings and plays, viewers over the age of 25 suddenly feel back to their strange original state. In a kind of restarting the cultural experience of the individual. In the mood, a fantasy raspberry tasted like a teenager, but it had nothing to do with memories or echoes of nostalgia.

So listening to it, the clever Speedy Gonzales out of the headphones can become a kind of immersive RPG where you can relive all the euphoria, excitement, and relinquishment of youthful existence without taking your feet off the ground. Robbie Williams also mastered it, but it was only enough for him for two or three summers. The really young guys, who might eventually make up the bulk of Styles’ followers all over the world, got it all right away anyway.


“Watermelon Sugar” for example is Styles’ song, which was a few months old in Spring 2020, but was released with a new beach shower video in the middle of the first major Covid uncertainty. “This video is for touch,” the artist wrote on an introductory text panel. Difficulty of translation: “I dedicate this video to the act of touching each other.” Something elementary feeling across the cohort, paused for who knows how long because of the risk of infection. And “watermelon sugar” sat on this inconspicuous longing like sucking lips on the flesh of a watermelon. Sweet and sassy soul rock, rumored to have been inspired by Richard Brautigan’s novel In Wassermelonen Zucker, Styles has topped the charts in the US, among other places, of course. Less than a year later, he won a Grammy for it, which he kissed unshaven, shaggy, and wears a long pink stole over a yellow and black tweed jacket.

And when “Harry’s House”, his third album overall, is released, you don’t have to know much more: Harry Styles, the man, is a man with many, many pictures – but without any real qualities. As a man, he is actually only embodied in his music. And in these 13 songs, one immediately recognizes the cornerstones of the building aesthetic that the record’s title might allude to. Which, as always, has plenty of doors through which you can get in and out again.

A lot of this has that dull, stone-walled groove of good late-night funk.

Because no matter how cute it sounds on paper: his pop dispenses with all the excessive hip flop, with the coquettish R’n’B that any producer in the world could easily program for him—and the efforts of historical contender Justin often gave Timberlake something desperate and coquettish. “Harry’s House” isn’t pure white mashed potatoes from ’80s electric and ’90s Britpop, although this is sometimes said about Styles’ music and the secret to his success. Definitely: He retained a refreshingly old-fashioned understanding of melody and charisma. However, a lot of it has that gorgeous drooping groove washed out of good late-night funk. Currently there are hardly any better offers in the big market for escape from reality that are constantly protecting themselves from everything evil and filthy.

Styles is one of the few cool characters that have been found with the help of TV talent shows that have become very popular after the turn of the millennium. He made his debut on Britain’s The X Factor in 2010, when a shaky 16-year-old struggled to sing Stevie Wonder’s “Isn’t She Lovely”. The set is developed by show producers One-way It ended up taking third place – and then became a British teenager with almost unbelievable American success: their first four albums went to number one on the Billboard charts. register. In 2016, the four members announced that they would suspend the joint venture in order to move forward on their own. To this day there has been no separation, not even a reasonable quarrel. What you can find boring or perfect.

And if you end up listening to “Harry’s House” a little more intently than you can while happily running around and drinking gin and tonic, baking a quiche or letting the face mask run — you notice that Styles is really different a little bit more deeply. This topic: What defines societies today In fact, how are societies formed on a large and small scale? In Matilda, a wise guitar song, he advises the girl not to invite her parents and siblings to the party, because they would never have cared for her. “It is better to start with a family that will always love you,” advises the narrator, and even without further explanation it is clear that he certainly does not refer to a classic model with a heterogeneous reproduction.


“Boyfriends” is the album’s most touching moment. Sporadic domestic drama reminiscent of Simon & Garfunkel. “You like an idiot who knows only which buttons to push with you,” sums up the state of the addressee’s relationship, which seems to refer only to the class of partnership to drive away the specter of loneliness. This is how “Harry’s house” can finally be heard: a broad appeal to communities living without traditional definitions. As an attempt to transcend social individualism without falling back into conditions that are already outdated.

Andres said, “The common room in Harry’s house could certainly be the best sanctuary imaginable.” Eternal guys, really good parties. You just have to be able to afford the rent.

Leave a Comment