Harry Styles’ KISS ALL THE TIME. DISCO, OCCASIONALLY.; A Lot of Vibe, Not Much Voice
POP TINGS RATING
7/10
After winning Album of the Year at the 2023 Grammys, Harry Styles returns with the intriguingly titled KISS ALL THE TIME. DISCO, OCCASIONALLY.; a name that’s as strange and sprawling as the album itself. Produced primarily by longtime collaborator Kid Harpoon, the record doesn’t quite commit to being a dance album, but rhythm and bass pulse through nearly every track. Influences swirl in and out of the mix, occasionally shining bright, occasionally fading into softer, more contemplative detours.
What emerges is a sonically polished but lyrically puzzling collection of songs; glossy in sound, elusive in meaning.
The album opens with “Aperture,” the lead single, an LCD Soundsystem-inspired electronic build that slowly rises into a hypnotic groove. Styles repeats the mantra “we belong together,” as the production gradually expands outward, setting the tone for a record that often relies on atmosphere over clarity. “American Girls” follows with a warm ’80s-inspired glow, Styles musing, “my friends are in love with American girls.” It’s breezy and nostalgic, yet strangely detached, a recurring theme throughout the album.
Energy spikes on “Ready Steady Go!”, where whirling guitar and bass collide with stomping percussion. The production spins with kinetic urgency, while “Are You Listening Yet?” pushes even further into theatrical territory. Opening with spoken-word fragments and background hums, the song erupts into marching drums and an electric guitar solo as Styles repeatedly demands, “are you listening yet?” The album’s sonic experimentation peaks on “Taste Back,” a shimmering psychedelic-pop moment that feels indebted to Tame Impala. Ghostly backing vocals from Ellie Rowsell of Wolf Alice float behind Styles’ line “you just need a little love,” while bubbly synths and drum machines add a dreamy weightlessness.
A gentler turn arrives with “The Waiting Game,” where violin strings and stripped-back electronic drums create one of the album’s more tender moments. But that calm doesn’t last long; “Season 2 Weight Loss” explodes into chaos. With pounding marching drums and Styles asking “do you love me now?”, the track fractures from a frantic breakbeat into a driving four-on-the-floor rhythm, becoming one of the album’s most thrilling sonic experiments.
The softer side of the record emerges again with “Coming Up Roses,” where swelling strings build into an almost orchestral crescendo before the final minute dissolves into lush instrumental beauty. Then there’s “Pop,” easily one of the album’s strongest tracks. Distorted vocals chant “squeaky clean, fantasy,” while a pounding disco bassline collides with hard-edged synths. The production (clearly inspired by Tame Impala and Arctic Monkeys) is electrifying and irresistibly catchy.
“Dance No More” keeps the groove alive with funky basslines and call-and-response choir vocals, echoing the carefree energy of “Uptown Funk.” Meanwhile, “Paint By Numbers” slows things down with trumpet flourishes and a 1970s-style acoustic ballad arrangement, one of the album’s most traditional moments. The penultimate track, “Carla’s Song,” is a gentle closer-in-waiting; soft, sweet, and carried by soaring synths that give it a dreamy emotional lift.
Yet for all its sonic richness, KISS ALL THE TIME. DISCO, OCCASIONALLY. struggles to leave a lasting imprint. Styles has described the album’s lyrics as “a long diary entry” chronicling the years since his previous record. If that’s the case, it’s a diary only understood by himself. The songs rarely reveal clear emotional details or narratives; instead, they drift through abstract imagery and emotions that often feel distant and difficult to connect with.
This ambiguity has become a defining feature of Styles’ artistic trajectory. While the production, especially on tracks like “Pop” and “Season 2 Weight Loss,” is consistently inventive and engaging, the songwriting rarely offers a deeper glimpse into his life or perspective. After the success of Harry’s House, many hoped for a bold lyrical leap forward. Instead, the album feels like another exercise in stylistic homage, revealing less about Styles himself and more about the artists and sounds he admires.
None of that means the record isn’t enjoyable. Styles’ soft, appealing voice remains one of pop’s most reliable instruments, effortlessly shifting from intimate murmurs in verses to soaring choruses. The music is pleasant, polished, and occasionally thrilling. But once the final notes fade, many of the songs slip quietly out of memory.
KISS ALL THE TIME. DISCO, OCCASIONALLY. proves that Harry Styles still has an impeccable ear for production and groove. The next step, perhaps, is letting the chaos in, and letting us see more of who he really is or at least, make himself more interesting.
