Harry Styles finds himself in a unique position: despite being a global superstar, he has never experienced the thrill of being in the crowd at one of his own concerts. This paradox is explored in his latest album, “Kiss All the Time. Disco, Occasionally,” which serves as the soundtrack to that anonymous exhilaration felt by concert-goers. Released as his fourth solo album, this marks Styles' first full-length project in four years, following the award-winning “Harry’s House,” which won Album of the Year at the 2023 Grammy Awards.
Beginning work on the 12-track album in early 2025 while in Berlin, Styles collaborated with his long-time producer Kid Harpoon and Tyler Johnson. Inspired by the city, his music embraced a more electronic sound, sourcing influences from prominent acts in the techno and electronic genres. Artists like Four Tet, Floating Points, and Jamie xx formed part of his listening regimen, reflected in the album’s repetitive, meditative productions that evoke deep feelings without sacrificing musical quality.
The lead single, “Aperture,” exemplifies this direction with its five-minute slow burn characterized by accelerating synths. Styles noted that the track was partially inspired by his experience of witnessing LCD Soundsystem live and listening to the ’80s English post-punk group The Durutti Column. The theme revolves around the concepts of freedom and anonymity, explored through the lens of a bustling dance floor.
The album's second half showcases spirited experimentation, particularly evident in tracks like “Dance No More.” This uptempo song channels a rush of dopamine with its catchy chant, “Gotta get your feet wet / Respect / Respect your mother!,” evoking both Rick James' “Super Freak” and the essence of drag culture. Other highlights include the maximalist vibe and Spanish guitars featured in “Ready, Steady, Go!” as well as the lustful energy of “Pop,” heavily influenced by the 2010s dance-punk band Hot Chip.
While Styles’ voice occasionally gets overshadowed by ambitious production choices, as heard in “Season 2 Weight Loss,” other tracks like “Coming Up Roses” place him front and center. This latter song, solely written by Styles, features a rich orchestral arrangement by conductor Jules Buckley, showcasing a more personal songwriting side. Additionally, the album revisits familiar themes with lyrical nods to Simon & Garfunkel in songs like “Carla’s Song” and “Dance No More,” while “Paint By Numbers” channels a late-’60s, early-’70s soundscape with acoustic guitar and singer-songwriter vibes.
Styles sings, “Oh, what a gift it is to be noticed,” making an existential observation on fame as a means of creating community rather than being its sole source. “Kiss All the Time. Disco, Occasionally” showcases Styles’ approach of taking risks while maintaining an understated tone. Tracks like “Are You Listening Yet?” linger in unresolved tension, and songs like “American Girls” play with midtempo rhythms.
The album successfully captures the essence of freedom that Styles seems to be pursuing, resulting in a subversive project that challenges conventional pop star expectations. While it may elicit a mixed response from his devoted followers, the album's unexpected nature adds to its intrigue. Ultimately, even in the chaos of a sweaty nightclub, where strangers find connection, Styles remains cognizant of his identity amidst the raucous atmosphere.
“Kiss All the Time. Disco, Occasionally” is an ambitious undertaking for Styles, boasting a solid three and a half stars out of five. Standout tracks to revisit include “Pop” and “Dance No More,” while listeners might consider skipping “Taste Back” and “The Waiting Game.” The album resonates with fans who enjoy the fusion of contemporary sounds with nostalgic influences, embodying a spirit of liberation while celebrating the communal experience of music.
