If you’re more than familiar with the pop star’s origins, it’s not surprising that Harry Styles ascended to the level of superstardom that he now occupies. He shot for the moon and reached the stars instead — because the thing about the 32-year-old British musician is that he possesses something that can’t go out of style: a true appreciation of and a burning passion for musical experimentation.
Fans witnessed this on his self-titled debut album in the form of guitar riffs reminiscent of ’60s rock bands, or on his third project, Harry’s House, which opened up his sonic universe to folk and funk influences. But for his fourth studio album, we observe Styles shed past versions of himself — the pop mogul that we know, but also the man behind the music. He wrapped Love on Tour in 2023, after an almost two-year run that was prolonged by the pandemic, and he found himself in a rare period of stillness. It was in that hiatus — without the shrill screams of exhilarated fans or the searing glow of stage lights, once the confetti reluctantly fell — that the artist began to search for his true purpose.
Of course, music is an integral part of who he is. But had his flashy stage persona superseded the delicate, human parts of Styles that are more commonly shrouded by theatrical floodlights? He began to ask himself a question that he hadn’t yet fully come face to face with, between touring almost every few years since he was sixteen and rapidly pumping out albums: who am I when all of the noise fades away?
So he decided to look within by exploring outside of himself. The singer set up post in the countryside of Rome, where he was often spotted casually browsing open-air flea markets or going on leisurely Lime bike rides. He was seen at Glastonbury Festival over the summer, and then in and out of Berlin, where he ran a marathon (a new feat for Styles) and often tapped into the underground club scene. The result? An album that feels infused with a richness of life, tinged by the colors of happiness, sadness, yearning — but most importantly, an album that felt raw and rid of derivative nods. Naturally, some familiar bells ring when listening to Kiss All The Time. Disco, Occasionally. Sonic moments reminiscent of The 1975, The Strokes and LCD Soundsystem are evident — but due to the daring production Styles tapped into for this record, every track still sounds distinctly his own. Naturally, all music is informed by what came before, but it seems that the artist’s biggest inspirations for the project were his own meaningful moments and his newfound sense of discovery.
The album begins with an ascent — an exciting build that primes listeners for a sensorial journey. “Aperture” was the project’s lead single, a synth-fueled dance-pop track that elicits an immediate head bob. Upon first listen, it became clear this album would be filled with subtle nods to nights spent in hazy Berlin clubs — a departure from the softer ballads and bedroom pop of the musician’s past albums. Though some of the ballads persisted. Renowned DJ and producer Fred Again played an unreleased track by Styles during his USB002 show in London on February 26. Fans later realized this was KATTDO’s track 8, “Coming Up Roses.” The song begins with a flurry of strings before giving way to delicate piano chords. Styles told Zane Lowe in an interview for Apple Music that he wrote this one in December, so he originally intended for this song to be a Christmas song. Once he began writing, it manifested as a song about fleeting relationships and the value they can still carry, even if painfully brief. It’s one of the most emotional and painstaking on the album, though in typical Styles fashion, it’s still deceitfully presented in a beautiful package with a grand bow on top. As for the Fred Again co-sign, fans speculated a few possible truths — Styles was rumored to be at the London show, so perhaps it was a stunt to promote his new album. Or maybe this means the future will bring some remixed tracks with some of his favorite DJs on the scene. Time will tell.
Other standout tracks include “American Girls,” a delicious and palatable amuse-bouche for those who may be new to Styles’ sound, but a track that also brought many seasoned fans back to the singer’s One Direction days. Additionally, “Ready, Steady, Go,” a bass thumping back track for letting your inhibitions free in the form of dance, and “Dance No More,” an even groovier anthem that Styles said was inspired by the elation of being young and free in a nightclub. The man didn’t say we’d be discoing all the time. He quite literally said we’d be discoing occasionally. So, of course, not every tune is a siren song beckoning you to the dance floor. Gentler, softer tracks like “Carla’s Song” — written for a friend of the singer’s — and “Paint By Numbers” convey the poignant introspection that Styles has so skillfully displayed on past projects, and mastered on this one.
“Paint By Numbers” begins with the lyrics, “Oh what a gift it is to be noticed.” Styles hasn’t only just been noticed, but ever since his early band days, he’s captured and maintained the attention of the masses through his raw lyricism, sonic experimentation and most of all — his joy for life in every season and shade — the good, the bad, and whether he’s on stage or sitting in a quaint park in London waiting to turn his book to the next page.
1. Aperture
2. American Girls
3. Ready, Steady, Go!
4. Are You Listening Yet?
5. Taste Back
6. The Waiting Game
7. Season 2 Weight Loss
8. Coming Up Roses
9. Pop
10. Dance No More
11. Paint By Numbers
12. Carla’s Song
Stream Kiss All The Time, Disco Occasionally, out everywhere now.
