HARRY STYLES - KISS ALL THE TIME. DISCO, OCCASIONALLY
By Laura Jane Coulson
Harry Styles has never been an artist particularly interested in standing still. From the polished pop of his early solo work to the breezy confidence of Harry’s House, each album has nudged his sound slightly further from the expectations attached to one of the world’s biggest pop stars. His fourth studio album, Kiss All the Time. Disco, Occasionally, might be his most dramatic shift yet. Where previous releases flirted with retro pop, soft rock and folk influences, this record dives headfirst into dance music, electronic textures and glittering disco rhythms. The result is a bold, occasionally uneven, but often captivating reinvention.
The album arrives after a brief hiatus following the massive success of Harry’s House in 2022. During that break Styles travelled, ran marathons, and by his own admission, fell in love with the late-night club scenes of cities like Berlin. That experience seems to have seeped directly into the DNA of this album. The club becomes both a sonic influence and a metaphorical space, somewhere between escapism, introspection and self-discovery.
The tone is established immediately with lead single ‘Aperture,’ which opens the album with a slow pulse before building into a full dance track. Echoes of LCD Soundsystem ripple through the production as shimmering synths and layered percussion gradually expand the song’s atmosphere. Lyrically, the track feels like a mission statement. When Styles sings “go forth, ask questions later,” it sounds less like a throwaway lyric and more like a declaration of creative intent. The song topped charts across the world, and it’s easy to see why. It’s infectious, loose and confident without feeling overproduced.
That blend of experimentation and familiarity runs throughout the record. ‘American Girls,’ the second track, pulls the tempo back slightly while maintaining a thumping electronic backbone. Beneath its glossy surface sits a layer of nostalgia, both musically and lyrically. Styles’ voice glides over soft synths before bursting into a euphoric chorus, balancing pop instincts with the album’s dance-floor ambitions.
One of the album’s most notable strengths is its sequencing. Styles and longtime collaborators Tyler Johnson and Kid Harpoon craft a track list that flows effortlessly between high-energy dance moments and quieter reflections. ‘Ready, Steady, Go!’ is a kinetic rush of drums and synths, its restless rhythm capturing the adrenaline of nightlife. It slides seamlessly into the darker, grittier ‘Are You Listening Yet?’ a song that carries a subtle undercurrent of protest. With its repeated refrain and pounding percussion, it feels like the soundtrack to a crowd shouting into the void.
But Kiss All the Time. Disco, Occasionally. is not purely a dance album. Beneath the beats lies an introspective streak that has become a hallmark of Styles’ songwriting. Across several tracks, he reflects on anxiety, relationships and the strange pressures of global fame. ‘Season 2 Weight Loss,’ despite its unusual title, examines the constant demand for reinvention that comes with living in the public eye. It’s one of a few songs on the record where Ellie Rowsell of Wolf Alice contributes backing vocals, adding texture and emotional depth.
The album also reveals Styles’ growing comfort with vulnerability. ‘Taste Back’ mixes glittering synths with lyrics about rediscovering joy after difficult periods, while ‘The Waiting Game’ leans into patience and self-reflection. These songs form a sort of self-aware trilogy that confronts the expectations surrounding Styles as both an artist and a celebrity.
Perhaps the album’s most striking moment arrives with ‘Coming Up Roses.’ Stripped of the record’s dominant disco aesthetic, the track replaces electronics with orchestral strings and delicate piano. Written solely by Styles, it’s a reminder of his strengths as a vocalist and songwriter. His voice is allowed to breathe here, floating gently above swelling violins. It’s a moment of calm amid the album’s pulsing energy and may remind listeners of the more intimate songs on Harry’s House.
After this quiet interlude, the album gradually returns to its dance-driven core. ‘Pop’ is both playful and self-referential, with Styles questioning the genre expectations placed upon him. “Am I in over my head? / this could go anywhere / it’s meant to be pop,” he sings, acknowledging the risk of stepping away from the formula that made him one of pop music’s most reliable hitmakers.
The joyous ‘Dance No More’ captures the album’s spirit perfectly. With gospel-like choir vocals and a groove that feels both smooth and explosive, the track celebrates the simple pleasure of losing yourself in music. It’s the kind of song designed for crowded dance floors, where sweat, laughter and freedom blend into one shared moment.
The album closes with ‘Carla’s Song,’ a fitting finale that feels like the final track played before the club lights come on. Its jittery electronic beat and shimmering keyboard lines build toward a reflective ending. The song hints at the discovery of music, of connection and perhaps of Styles himself.
If Harry’s House was a warm, sunlit portrait of comfort and domesticity, Kiss All the Time. Disco, Occasionally. feels like its nocturnal counterpart. It’s a record about movement, about stepping into unfamiliar spaces and embracing uncertainty. Not every experiment lands perfectly, and some listeners may miss the melodic simplicity of Styles’ earlier work. Yet the album’s willingness to take risks ultimately becomes its greatest strength.
At 32, Styles appears less interested in maintaining a polished pop persona and more focused on exploring who he is as an artist. That curiosity gives Kiss All the Time. Disco, Occasionally. a sense of authenticity that shines through its layers of synths and beats. It may not be the album many expected from Harry Styles. But that unpredictability is precisely what makes it compelling and why it will likely linger on dance floors and playlists long after the disco lights fade.
Cat Wiltshire
★★★★☆
