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Harry
Harry is a woman set to spread through the nation faster than a plague of sexually transmitted diseased pokemon (only less pretentious, Japanese and. well ...Itchy)! Taking the nation by storm, this young face of the future is ready to seduce your stereos and rock your pinstriped socks with her fusion of infectious rock and pop. Harry: The electrowonder-woman who wants to show the world what happens when you take two revolutionary sounds; the influential works of one pop-laden, cone-bra wearing icon and one unquestionable rock God of grunge and guitars and let them collide, giving birth to the dirtiest of them all...
Her debut album ‘The Trouble With…’ rock ‘n’ rolled its way onto the shelves in early 2003 and is an accumulation of six years hard work and mischief, restriction and rebellion but most of all Romance; Romance with music and growing up as a teenager as well as an artist. It is a debut that conveys honesty, emotion and most of all, evidence of a real dirty good time!
Shifting from the annihilating, up-tempo industrial opener ‘Goddess On The Floor’ to the heaven-sent synth tinkering intro of ‘Ten Things’, Harry then tells us that being a bad girl of rock can’t mean that you wont ever pick yourself up again, “You can’t keep a bad girl down however hard you try”. It’s a cathartic number proving you don’t have to bleed your throat as well as your heart to feel empowered in song. She “wants it to be good” and it sure is. ‘So Real’ which featured on the soundtrack to the film ‘Mike Bassett: Football Manager’ and first release under her solo identity finds the darling of dirtshire weaving her anthemic ideology through explosive pop and electronica musings. Next up, ‘Follow Me’ is ballsy and alluring with a title that surely has no need to hide a subliminal message. Harry has you hooked by this point and she knows it. She’s already seduced you with her strength and invite for a spot of tea; now the guitars are getting louder and more predatory as the goddess gives it to you with her take-no-shit attitude. However we’re then surprisingly leaded into ‘Valley’ with its serene and sweeping verses of sincerity and contrasting cries about sacrificing for fame, the very aspects that make Harry’s music so unaffected. ‘Underground’ gives us our first taste of the pop sensibility that pulses in her veins with a buzzing caramel-glazed melody juxtaposed with a melancholic tale of innocence and sexual endeavour “he liked to kiss her, beast with two backs”. Just when things taste sweet, the brooding bass and synth creep in as the beginning of renowned self-empowering hymn ‘Eye’. It’s definitely a song that implores all hands in the hair to a “fuck you” anthem and a screeching fade-out. Who needs Pink, ‘coz this party has most assuredly started. Just as one rocking number ends, a new one begins…Harry’s interpretation of Salt’N’Peppa’s classic hit ‘Push It’ gets the dirty treatment, the samples and idea may be borrowed but turns out that despite that fact, ‘Push It (Real Good)’ is the most genuine and outspoken track on the record. Time to bang those heads in motion to the charging schizophrenia of ‘I Do What I Do’, a song that needs to be played live more often with it’s screaming vocalist picking up the pace and demanding your attempt to rock as much as she. ‘Taste Like Kisses’ is possibly yet another anthem and second real taste of pop lashings with a catchy chorus and sensuous swagger. ‘Heroine’ serves up the final spoonful of sugar, Harry singing, “I can be your heroine” is a line to be believed. ‘Nothing Really Matters’ portrays the Nine Inch Nails influence as we delve into the darker side of Harry’s mind. From sugar to a fiery silver spoon, the electronic beats bubble in this ethereal psalm of anti-social disease. The preacher singing that you “Murder Mum and Dad, the whole family”. This is our insight into what a 22yr old child of rock believes, and what does she believe? …Nothing!? How about how to perform the perfect crossover of industrial/electronica and rock whilst not losing the affect of her more mainstream idols? Well she certainly pulls it off and her music is even more revealing than her most recent photo shoots in black suspenders so give her a chance! Final track off the album is a cover of Beloius Some’s ‘Imagination’, which again was featured as part of a Rimmel ad campaign, ending ‘The Trouble With Harry’ on a successful (and sassy) note.
Some might say that this album has so many angles that the reflection of what Harry’s music is about is far too distorted and indecisive. However what we have here is a debut offering from a hard-working talent that could please music fans from multiple genres. Despite how stereotypes may try to hinder her, Harry has a brain and her music teaches us that Rock 'n' Roll is not and never should be clean and role models should not all play the same role!
Harry is a woman set to spread through the nation faster than a plague of sexually transmitted diseased pokemon (only less pretentious, Japanese and. well ...Itchy)! Taking the nation by storm, this young face of the future is ready to seduce your stereos and rock your pinstriped socks with her fusion of infectious rock and pop. Harry: The electrowonder-woman who wants to show the world what happens when you take two revolutionary sounds; the influential works of one pop-laden, cone-bra wearing icon and one unquestionable rock God of grunge and guitars and let them collide, giving birth to the dirtiest of them all...
Her debut album ‘The Trouble With…’ rock ‘n’ rolled its way onto the shelves in early 2003 and is an accumulation of six years hard work and mischief, restriction and rebellion but most of all Romance; Romance with music and growing up as a teenager as well as an artist. It is a debut that conveys honesty, emotion and most of all, evidence of a real dirty good time!
Shifting from the annihilating, up-tempo industrial opener ‘Goddess On The Floor’ to the heaven-sent synth tinkering intro of ‘Ten Things’, Harry then tells us that being a bad girl of rock can’t mean that you wont ever pick yourself up again, “You can’t keep a bad girl down however hard you try”. It’s a cathartic number proving you don’t have to bleed your throat as well as your heart to feel empowered in song. She “wants it to be good” and it sure is. ‘So Real’ which featured on the soundtrack to the film ‘Mike Bassett: Football Manager’ and first release under her solo identity finds the darling of dirtshire weaving her anthemic ideology through explosive pop and electronica musings. Next up, ‘Follow Me’ is ballsy and alluring with a title that surely has no need to hide a subliminal message. Harry has you hooked by this point and she knows it. She’s already seduced you with her strength and invite for a spot of tea; now the guitars are getting louder and more predatory as the goddess gives it to you with her take-no-shit attitude. However we’re then surprisingly leaded into ‘Valley’ with its serene and sweeping verses of sincerity and contrasting cries about sacrificing for fame, the very aspects that make Harry’s music so unaffected. ‘Underground’ gives us our first taste of the pop sensibility that pulses in her veins with a buzzing caramel-glazed melody juxtaposed with a melancholic tale of innocence and sexual endeavour “he liked to kiss her, beast with two backs”. Just when things taste sweet, the brooding bass and synth creep in as the beginning of renowned self-empowering hymn ‘Eye’. It’s definitely a song that implores all hands in the hair to a “fuck you” anthem and a screeching fade-out. Who needs Pink, ‘coz this party has most assuredly started. Just as one rocking number ends, a new one begins…Harry’s interpretation of Salt’N’Peppa’s classic hit ‘Push It’ gets the dirty treatment, the samples and idea may be borrowed but turns out that despite that fact, ‘Push It (Real Good)’ is the most genuine and outspoken track on the record. Time to bang those heads in motion to the charging schizophrenia of ‘I Do What I Do’, a song that needs to be played live more often with it’s screaming vocalist picking up the pace and demanding your attempt to rock as much as she. ‘Taste Like Kisses’ is possibly yet another anthem and second real taste of pop lashings with a catchy chorus and sensuous swagger. ‘Heroine’ serves up the final spoonful of sugar, Harry singing, “I can be your heroine” is a line to be believed. ‘Nothing Really Matters’ portrays the Nine Inch Nails influence as we delve into the darker side of Harry’s mind. From sugar to a fiery silver spoon, the electronic beats bubble in this ethereal psalm of anti-social disease. The preacher singing that you “Murder Mum and Dad, the whole family”. This is our insight into what a 22yr old child of rock believes, and what does she believe? …Nothing!? How about how to perform the perfect crossover of industrial/electronica and rock whilst not losing the affect of her more mainstream idols? Well she certainly pulls it off and her music is even more revealing than her most recent photo shoots in black suspenders so give her a chance! Final track off the album is a cover of Beloius Some’s ‘Imagination’, which again was featured as part of a Rimmel ad campaign, ending ‘The Trouble With Harry’ on a successful (and sassy) note.
Some might say that this album has so many angles that the reflection of what Harry’s music is about is far too distorted and indecisive. However what we have here is a debut offering from a hard-working talent that could please music fans from multiple genres. Despite how stereotypes may try to hinder her, Harry has a brain and her music teaches us that Rock 'n' Roll is not and never should be clean and role models should not all play the same role!