Published March 31st, 2026
BY JADE GRANBERY
Four years since the release of the Grammy-winning “Harry’s House,” Harry Styles returns to the music scene with his long-anticipated fourth studio album “Kiss All the Time, Disco Occasionally,” a synth-heavy pop-rock record that provides an undeniably interesting listening experience, but grows repetitive quickly.
After four years of silence, Harry Styles released his fourth album, Kiss All The Time, Disco Occasionally, mixing sounds from the ’70s and ’80s into mainstream pop. courtesy of COLUMBIA RECORDS
As suggested by the name, the album blends both modern synth-pop with a funky, ‘70s-inspired disco and ‘80s new wave influence. Styles introduced this new electro sound with his lead single “Aperture,” which debuted at #1 on the Billboard Hot 100. The five-minute slow burn, driven by glitching, continuous synths, explores vulnerability and opening up, hence the lyrics suggesting that “[an] aperture lets the light in.” While the track is catchy and intriguing, it lacks the distinct personality of Styles’ previous hit singles. It works well as dance floor music, but doesn’t quite have what it takes for an iconic pop moment.
A similar formula continues throughout the album. Whispered vocals, synth-heavy beats, lack of a definitive chorus and experimental sounds appear again and again, sometimes at the expense of memorable songwriting. Tracks like “American Girls,” “Taste Back” and “Pop” are pleasant and melodic, making great background music, but not standing out as especially remarkable.
Of course, it wouldn’t be a proper Harry Styles album without a ballad or two. “Coming Up Roses” is an instant favorite from the superfans with a waltz beat and romantic lyrics, making a nice love song, but nothing extraordinary. “Paint by Numbers,” an acoustic guitar track, has a more memorable melody and confessional lyrics. Though they stick out without the experimental factor, they are both enjoyable, run-of-the-mill commentaries on Styles’ relationships and personal reflection.
The biggest let down is the promising start “Ready, Set, Go!” A moody electric guitar chord and an identifiable pre-chorus look to break the pattern, but the chorus, its experimental vocals and synth, don’t follow through with the build-up.
A few songs manage to break through. “Are You Listening Yet?” leans into indie-rock territory, with drums and layered vocals. “Dance No More” shines as the disco infused pop promised by “Aperture” and delivers the album’s most memorable hook.
Away from the upbeat dance pop or singer-songwriter ballads, Styles finds calm with “The Waiting Game,” maintaining the album’s dreamy synth atmosphere while allowing the melody more room to breathe. Though slightly more upbeat, the calmer side also appears in “Season 2 Weight Loss,” where Styles reflects on becoming a better version of himself.
While “Kiss All the Time” shows a new side of Harry Styles as he experiments with new sounds and styles, no pun intended, the album ultimately feels weighted down by repetition. Many songs drone on with repetitive lyrics, and similar sonic ideas stretch across multiple tracks. The record proves that Styles is willing to push his sound in new directions, but in doing so he sometimes misses the sharp songwriting and standout moments that made his earlier work so memorable.
6/10
