Harry Styles’s ‘Kiss All The Time. Disco, Occasionally’ Fumbles Occasionally, But Slays Most Of The Time: Album Review

“Kiss All The Time. Disco, Occasionally” is Harry Styles’s fourth studio album. After a four-year gap, the pop star returns with a start-to-end tracklist whose sound and production reflect where he currently stands as an artist. Here’s a track-by-track breakdown of what each song has to offer.

The opening track, “Aperture” sets the tempo for what lies ahead. An EDM-laced inferno of energy and infectious bops, the song hits hard from its opening notes. You want to dance? You want to wear your new shades and feel brat? “Aperture” is the track. Its live rendition at the BRITs featured an ensemble that looked like a parade of runway models vibing to the beat of its addictive hook. A great way to usher in your new era. 

Closest in spirit to the sound of his debut album, the second single “American Girls” is a slightly questionable choice. The track has a carefree vibe, with Harry confessing, “My friends are in love with American girls.” As it progresses, you can’t help but wonder if there were stronger, more cohesive songs on the album that could have taken its place. Compared to the rest of the record, it feels a bit too safe and somewhat dated. Not quite up to Harry’s usual standards.

A treadmill-friendly track, the repetitive chorus in “Ready Steady Go!” is layered with a thumping bass that refuses to take a back seat. Instead of adding a bridge and a textured outro, the song doubles down on its primary mission — to make you jump and bounce to the beat. The words that come in succession, Ready, Steady, Go!, serve as cues to get you moving, a direction Styles gravitates toward frequently across the album.

“Are You Listening Yet?” feels almost rhetorical in intent. A direct question to the listener, perhaps? Harry urges you to surrender to the claps and drums. There’s a lot happening here; the stacking of the background hum adds an interesting layer to the vocals. But the real magic kicks in at the 2:07 mark when the guitar bursts in, accompanied by what feels like a laser-gun-shooting-at-falling-objects sonic mood board.

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When Harry asks, “Did you get your taste back?”, my mind briefly travels to the COVID era, when losing taste became an oddly universal experience. Fortunately, there’s no pandemic commentary here. Instead, “Taste Back” plays out like a flirtatious back-and-forth between seduction and desire. The writing carries subtle layers, and you have to read between the lines to catch the underlying subtext.

The weakest link on the album, “The Waiting Game” reflects on the tension of living a dual life — balancing privacy while existing under constant public scrutiny. Few artists understand that struggle better than Harry. Unfortunately, the erratic pacing and guitar arrangements don’t quite elevate what he’s trying to convey. Melody-wise, it also pales in comparison to the songs surrounding it.

A brilliant sonic detour, “Season 2 Weight Loss” stands out for its willingness to experiment. It drifts through a wide palette of instruments, with Styles’ restrained vocals floating gently rather than pushing for dramatic effect. In the quiet spaces between synth notes and pauses, he asks, “Do you love me now?” The track carries a melancholic undertone, reminiscent of the kind of music you might hear in a quiet European café. The imagery it evokes feels almost cinematic — black-and-white visuals that echo the MTV music videos of the ’90s.

Starting like a love song and ending like a lullaby, “Coming Up Roses” lets the violins take flight. Arranged by Grammy-winning conductor Jules Buckley, the track gives center stage to Harry’s voice, allowing it to glide before settling into a mellow chorus that leaves you wanting more.

The album’s most playful moment, “Pop” feels like a direct response to critics who claim Harry’s music lacks punch or plays it too safe. The track shifts like a fizzy drink changing flavors halfway through. Don’t overthink it, just indulge in its exuberance and you’ll likely come away satisfied.

Are those cats in heat moaning in the background in “Dance No More”? Of all the strange thoughts that can pop into your head while listening to certain songs, this might be one of them. With hints of late ’70s and early ’80s influences, the track feels like it could have been a B-side to Madonna’s “Into the Groove.” Ultimately, though, it plays out more like filler that doesn’t quite elevate the album’s sonic momentum.

“Paint by Numbers”  is an acoustic, stripped-down, vocals-forward track. The lyrics are honest and reveal insecurities about aging and self-reflection. At just 2:27, the runtime sits somewhere between an interlude and a fully developed song.

Saving the best for last, Styles closes the album with his swansong, “Carla’s Song”. A distant cousin to “As It Was,” the track feels tailor-made for live audiences to sing along to. Simple in approach yet emotionally resonant, the song could become a slow-burning summer favorite. It doesn’t try too hard to reinvent the wheel, instead paying tribute to the music that shaped Styles’ sensibilities. Shades of Robbie Williams and the Pet Shop Boys are evident, and that’s never a bad thing.

ON REPEAT: “Aperture,” “Season 2 Weight Loss,” “Carla’s Song,” “Ready Steady Go!”

SKIP: “American Girls,” “The Waiting Game.”