‘Fine Line’: Adventures of a Troubadour: Harry Styles’ Decadent Sophomore Record

“Fine Line” presents an eclectic and hopeless romantic appearance to the former boy band guru.

"Reliability somehow finds itself intertwined into every lyric sung by the former pop star yet, in the end, the findings reflect more of validity than anything else."

Frayed bits of melody squeak throughout lines of lustrous delight as Harry Styles carries new weight upon him and the ever-so cheery-poppy creation of “Watermelon Sugar”.

With subtleties of desperation, reincarnates of lust, and an overcoming subject of break-up, Styles’ follow up to his self-titled debut record, “Fine Line” presents an eclectic and hopeless romantic appearance to the former boy band guru.

The presentation of a matured Styles turns out to appear worn and tired as the mixture of psychedelics and rock n’ roll intertwines with one another.

Styles’ tastes become evident with nods towards fellow British rock legends The Beatles and Bowie in such a tune as “She” where experimental indie rock meets ‘Purple Rain’-esque vibes. Off of his debut album, “Sign Of The Times” feels like a precursor to “Fine Line’s” “She,” as Styles explores the world of magical mushrooms within each electronic riff.

Before the mushroom infused expenditure, Styles tackles an indie folk groove with levels of pop underneath as the guitalele - a ukulele with six strings - appears throughout the polite and articulate “To Be So Lonely”. The latter proves to be worthwhile as half of the tunes reminisce in what was, as Styles’ ex-girlfriend, French model Camille Rowe mums a significance towards a major influence to what lies ahead.

The effervescent flow of changes demonstrates an almost effortless performance as Styles approaches hesitations of break-up and interferes with streamlined self-confidence as the first single “Lights Up” blares with its compendious groove.

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The ulterior sense amongst the album becomes imminent as the walls built up around Styles begins to crumble as “Cherry” tackles melancholic acoustic guitar riffs with nabs of judgment towards Rowe’s new partner. As the tumbling of broken pieces transition from a semi-longing folk groove into a creamy and title invoked piano ballad, “Falling” ropes in its name to invoke a descentful tune of soul. “And I’m well aware I write too many songs about you.” lingers off of Styles’ lips as the term reliability seems to become encrusted into each song.

Reliability somehow finds itself intertwined into every lyric sung by the former pop star yet, in the end, the findings reflect more of validity than anything else. In fact, “Fine Line” scours over finding this sense of validness.

Styles completes his journey of finding validity, but interacts with Vampire Weekend along the way. Beachy and sunny vibes in “Sunflower, Vol. 6” could recall as the latter artist’s tune any day of the week.

Reenacting his inner Joni Mitchell, a beloved and iconic artist in the eyes of Styles, “Canyon Moon” features the dulcimer used to create the 1971 Mitchell classic Blue. With Styles’ preferred title of “Crosby, Stills, and Nash on steroids.” the folky So-Cal infused tune interprets that and more.

The help of these - magical mushrooms - never disappears as every track feels laced with psychedelia, passions of mushroom-fervor, and catalytic emotions inspired throughout its use. Using the slogan from his first solo tour, “Treat People With Kindness” was screaming “write me, write me” yet Styles felt uncomfortable in writing a tune of this gesture and utter importance. Styles leaned into that aspect and opened a world full of pure good, choir filled celebrations, and psychotropic colored choruses.

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Styles’ sophomore record puts a stamp on the past, but inputs bits of what could be looming ahead. His soaring vocals find spots of raw-ness, clarity, and uncertainty whilst implementing feelings of disparity, lust, and anxiousness.

The eccentric outro that started “as a simple folky ballad, but it kept expanding and evolving.” Styles said to the Rolling Stone. “Fine Line” is quite the oddity. The longest-running tune on the album features a display of harmonies, a section full of strings, and horn-lines to infuse the epic groove.

Harry Styles outdoes himself albeit not every tune signifies greatness as “Golden” lacks that inferior charismatic quality and presents too much to the table. Rather than shuffling from pop to indie rock melodies, “Golden” sticks with in-the-face hooks and twangy loops of hysteria.

Styles captures the hearts of many with his recurrent and silky vocals that pop into existence from the start of the record.

“Fine Line” journeys into the land of unknowing, psychoactive products, and iridescent qualities as Styles becomes complacent - at the time being - with his romantic past and discovers the validity within himself.