Harry Styles, “Harry’s House.”

Harry Styles has been a prominent figure in pop music for just over a decade, but with the fracturing of One Direction in 2016, he was granted the opportunity to reset and craft a sound and style entirely of his own. He took full advantage of the opportunity and has had hardly a lapse in success since then. After two no. 1 solo releases, no. 1 single “Watermelon Sugar” and a Grammy win, he’s back with his hotly anticipated third album, Harry’s House.

Harry’s House moves and sounds almost exactly as you would expect, and there’s absolutely nothing wrong with that. From lead single “As It Was”—which is undeniably catchy and perfectly attuned to the vibes of summer beginning to settle in—he establishes a sound grounded in casual pop and nonchalant songwriting.

Overall, his singing is subdued; at least compared to past ballads like “Sign of the Times,” and is often mixed into an array of instrumentation. His songwriting is lighthearted, yet still tinged with enough innuendos and creative names to keep the album sounding fresh.

“As It Was” uses a repetitive hook to add another layer to the upbeat pace, guaranteeing it to be stuck in your head. Styles uses the same technique on other tracks like “Cinema” and “Daydreaming.” On the latter, he repeats some variations of, “Give me all of your love” or, “Living in a daydream” for nearly half the song but manages to keep it fun.

Harry’s House begins with “Music For a Sushi Restaurant,”one of the album’s best songs. Its relentless incorporation of trumpets has a lot to do with that. There’s only one stanza that speaks directly of Japanese cuisine, though like most of the lyricism, it should be understood as Styles’ keen observations of his lover. “Just a little taste/ You know I love you baby,” he sings in the final moments of the hook before the trumpets take over for the chorus.

There are several other songs that feel like montages or an array of flashbacks to memories of past relationships. On “Keep Driving” a midtempo, skipping beat is effortless alongside Styles as he rattles off snapshot memories from his time with his girl and the adventures on which they went. He remembers everything from shared coffee and pancakes to edibles, side boob and toothaches. Then on “Grapejuice,” he sits and drinks a bottle of vintage red wine—a 1982!—in his garden and thinks about the flowers he picked out and the places he and his partner traveled.

For those who get the vinyl edition of Harry’s House—there’s something about his style that fits well on vinyl—Side B will start with “Cinema.” He oozes sexuality into the lyrics depicting him in front of the silver screen with references to concession snacks, “You pop when we get intimate.” It’s hard not to relate the song to the energy of his upcoming film, “Don’t Worry Darling,” coming in September. Though it’s a psychological thriller, the film appears sexually charged and a passionate first leading role for Harry Styles. That’s particularly true since he’s been romantically linked to the film’s director, Olivia Wilde. The external factors make the album’s highlight all the more exciting.

Styles is wholeheartedly sensitive throughout the songs. He looks out for his respective partners, noticing them grow and paying attention to their emotions. It’s a major advantage to his work, grounded in his boy band beginnings when silly love songs dominated albums. On “Boyfriends,” he’s supported by acoustic guitars as he notices other guys misunderstanding and trying to take advantage of girls. On “Little Freak,” he makes sure to always take the blame, even if he ends up alone. “I’m not worried about where you are/ Or who you will go home to/ I’m just thinking about you,” he sings.

Harry Styles has yet to have a lapse in success. He’s conquered the charts and award shows. For his millions of adoring fans around the globe, Harry’s House it’s sure to be another success.

Follow Domenic Strazzabosco at Twitter.com/domenicstrazz and Instagram.com/domenicstrazz.