Song of the Week: Harry Styles Is Back, And Nothing Is the Same “As It Was”
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The post Song of the Week: Harry Styles Is Back, And Nothing Is the Same “As It Was” appeared first on Consequence.
Song of the Week breaks down and talks about the song we just can’t get out of our head each week. Find these songs and more on our Spotify Top Songs playlist. For our favorite new songs from emerging artists, check out our Spotify New Sounds playlist. This week, Harry Styles gives us the first look inside the walls of Harry’s House.
“Harry, you’re no good alone.”
Artistically, that’s something we know isn’t true. It’s been years now since Harry Styles struck out on his own, re-inventing his public persona through vintage aesthetics and the devil-may-care creativity of a present-day rockstar. His art, both in his self-titled solo debut and the Grammy-winning Fine Line, has always pivoted between the achingly personal and intentionally coy. It might be easy to speculate about the subjects of his songs, but there’s still a thin veil between Styles and the public.
Personally, that line — “Harry, you’re no good alone” — might mean something quite different.
“As It Was” is the latest offering from the global superstar, the first cut off his upcoming album Harry’s House (due May 20th). Here, Harry seems fixated on the passage of time, the inevitability of change, and the stifling repercussions that come along with periods of transition. There’s a motif in his music around avoidance, whether it be in “Meet Me in the Hallway” (“We don’t talk about it, it’s something we don’t do”) or “Sign of the Times” (“We don’t talk enough”).
“I don’t wanna talk about the way that it was,” he sings on “As It Was.” Things have already changed too much in his narration — what’s the point of combing over history? Naturally, this dialogue is disguised in a vibrant, synth-heavy song that makes the listener want to bounce down the street with wired headphones and a walkman or stick their head out of the sun roof. It feels heavily inspired by a-ha’s classic “Take On Me” — it’s even in the same key.
In the accompanying music video, though, there’s no black-and-white journey through the world of animation. Directed by Tanu Muino, the visual sees a sequined Styles moving through whimsical set pieces and working through choreography opposite a similarly-clad dancer. He’s giving us acting, and it’s a reminder that Styles — impromptu talk show host, beloved visitor at SNL, burgeoning movie star, and Grammy-winning soloist — is the kind of quadruple-threat showman that feels so rare in the current entertainment landscape.
None of it is the same as it was — but we don’t have to talk about it, or dwell on it. Let’s just dance.
— Mary Siroky
Contributing Editor
Honorable Mentions:
Margaret Glaspy – “Heart Shape”
The b-side to her recent single “Love is Real,” Margaret Glaspy’s quietly anthemic “Heart Shape” continues her obsession with writing about love — and to lovely results. With its snare-heavy drum pattern, swirling studio embellishments, and a lead guitar tone that feels like an auditory hug, “Heart Shape” brings to mind Cassandra Jenkins’ recent output or the outro to Phoebe Bridgers’ “Scott Street.” It’s a radically positive jam perfect for the dawn of spring. — Jonah Krueger
Teen Jesus and the Jean Teasers – “Girl Sports”
“Girl Sports” starts with the rolling of tape. The track’s main riff plays through what sounds like the speaker of a cheap four-track machine. After establishing the descending guitar line, a drum fill brings the song into full focus; and it’s full steam ahead.
“Girl Sports” is the first single from the Australian rockers’ upcoming EP, Pretty Good For A Girl Band, and that sardonic, angry project title is reflected both in the intensity of the performances and the snarl of lyrics. “Maybe you should try sticking to girl sports/and men would like you better if you didn’t talk,” rages the chorus, “Don’t get me wrong, you’re pretty good for a girl band.” It’s infuriating to listen to, which works to the song’s benefit, as the track lures the listener into its aggression, all with the payoff of a glorious, deserving “fuck off.” — J.K.
Foals – “Looking High”
Back when Foals announced their upcoming seventh studio album Life Is Yours, frontman Yannis Phillipakis promised that it would be “back to a sweaty, late-night dance floor.” And though both singles “Wake Me Up” and “2AM” brought a bright, kaleidoscopic energy to Foals’ sound, it’s their latest single “Looking High” that fulfills their dance floor promise most of all.
“Looking High” seems to pick up where Everything Not Saved Will Be Lost Pt. 1‘s “In Degrees” left off, but without any bite; instead, the song pulses with a nightclub feel, topped with glittering synths and a disco-esque, fully-falsetto’d performance from Phillipakis. For the first time in a while, it’s a Foals song to genuinely get lost in, a carefully drawn web of grooves that ensures this new era of the band is just as urgent and cathartic as the ones before. — Paolo Ragusa
Mychelle, ENNY – “Forbidden Fruit”
From the first few lush seconds of Mychelle and ENNY’s “Forbidden Fruit,” every ounce of tension is smoothed out, and each elongated vocal line is blissful and comforting. But that’s not to say there’s no conflict in the song: “I keep on making excuses as to why you are good for me,” Mychelle sings, as she likens her lover to forbidden fruit. Throughout, Mychelle oscillates between a desperate desire and a reserved refusal, torn between self-control and satisfaction. And overall, there’s a warmth to this discovery, an infectious glow that never dares to rock the boat but keeps us coming back for more. — P.R.
Alexander 23 – “Crash”
He’s made waves as a co-producer on Olivia Rodrigo’s “good 4 u” and as a co-songwriter on tracks by the likes of mxmtoon and Louis The Child, but Alexander 23 is ready to introduce himself as a solo artist in 2022. His new single is a hooky break-up anthem that wouldn’t sound out of place on SOUR, with the artist delivering a measured parting shot to an ex: “I still miss you, but I don’t miss us.” — Spencer Dukoff
Blu DeTiger – “Hot Crush Lover”
“Right now, buttercup, you gotta let your hair down and loosen up,” Blu DeTiger sings on “Hot Crush Lover.” The bright, breezy anthem is irresistibly catchy, anchored as always by Blu’s signature bass skills. The earworm chorus is tailor-made for the sunny days we all know are waiting, and the song continues to solidify the artist — who recently made an appearance in the Olivia Rodrigo SOUR documentary — as a welcome creative voice in the pop space. (Ed. note: Two unrelated mentions of SOUR in today’s roundup? I’m not mad.) — M.S.
Isaac Dunbar – “Tainted Love”
On his latest single, Isaac Dunbar turns up the disco-infused glitz with a story of a toxic love affair that he just can’t let go. The song is a notable yet welcome sonic shift for the 19-year-old pop wunderkind, and by the time he reaches into the rafters to wail, “Just gimme that tainted love from the movies/ I’m a star, you’re my groupie,” in his magnetic falsetto, even the most disco-averse fan will find it impossible to resist the song’s 21st century Saturday night fever. — Glenn Rowley
The Regrettes – “Anxieties (Out of Time)”
Lydia Night just wants off the rollercoaster that is her anxiety. And trust us, girl, we get it. Still, a panic attack has never sounded as infectious as it does on The Regrettes’ new single “Anxieties (Out of Time).” “Are we just forever runnin’ out of time/ Missin’ how it feels to really be alive?” Night asks, her breathy vocals floating over the bandmates’ synth-drenched accompaniment as she gives voice to the worries of her pressure-riddled generation. — G.R.
Emeli Sandé – “There Isn’t Much”
This single from R&B singer Emeli Sandé’s forthcoming album Let’s Say For Instance (due May 6th) is a soulful, ’80s-tinged power ballad. In a statement, Sandé revealed that the song is about “everything being an illusion apart from love,” and now that she’s found the real thing, she’s able to put “genuine emotion” into not only her vocal performance, but its vibrant, uplifting accompanying visual, too.
“There Isn’t Much” commemorates how far Sandé has come in both her career and her personal life. The track glimmers with positivity through an ambitious mix of disco and nostalgic R&B; as she shares, “It really reminds me of what my parents might have been listening to when they met.” — Rachael Crouch
THE BLSSM – “NOT TODAY”
Taken from emerging singer-songwriter THE BLSSM’s sophomore EP PURE ENERGY (arriving April 29th), ‘NOT TODAY” is a fearless, sassy banger. The bombastic, anthemic instrumentation highlights THE BLSSM’s signature genre-bending style, fusing nostalgic ’90s grunge with pop-punk. “NOT TODAY” is a reflection of the artist’s (who uses they/them pronouns) personality, with them revealing, “The song was written with intimacy and celebration… if I had my own TV show, this would be the theme song.” We can’t wait to tune into the next episode. — R.C.
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Song of the Week: Harry Styles Is Back, And Nothing Is the Same “As It Was”
Mary Siroky and Consequence Staff
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