Harry Styles has always been an artist who has refused to rest comfortably in any one style for too great a length of time. From the soft rock of his debut to the pop experimentation of his latter work, he has always been an evolving force. And yet, with Disco, Occasionally. Kiss All the Time., he makes perhaps the greatest leap yet in his career, abandoning the guitar-based textures of much of his previous work in favor of a pulsating dance-based sound. It’s an album that feels alive in motion, as though every song was crafted with the intent of getting the listener moving and grooving while still leaving room for contemplation.
The communal nature of the record is undeniable. Just as the atmosphere surrounding the release has been akin to the club-based scenes discussed in early reviews of the record, the record itself is all about the communal experience of dance and release. But there’s a deeper emotion within the glittering production and pulsating beat, the exploration of uncertainty and the comfort found in losing oneself in the crowd.
The first track, “Aperture,” does just that. It doesn’t immediately launch into a huge hook. Instead, it takes its time. A consistent bass drum beat is present underneath the shimmering synth sounds that build outwards gradually. Styles’ vocals don’t immediately step into the forefront but rather become part of the background. It’s not about spectacle but rather about atmosphere. It’s the kind of song that slowly draws the listener into the world of the album.
From there, Kiss All the Time. Disco, Occasionally. shows off its playful side. “American Girls” has a deceptively quiet introduction before launching into the hook with the kind of glossy immediacy that is reminiscent of Styles’ One Direction pop sensibilities.
The most danceable track on the album thus far is “Ready, Steady, Go!” and it’s one of those songs that is literally built around repetition in the best way possible. The repetition of the titular chant is what makes it so mesmerizing as the beat changes and different vocal effects are added to keep the track from getting stagnant. It’s one of those songs that seems like it’s been engineered specifically for dancing as it is unending, quirky, and impossible to sit still to.
“Are You Listening Yet?” adds a bit of an edge to the soundscape of the album thus far. The quick vocals and jagged guitar riffs make it one of the more indie-rock-influenced songs thus far, similar to bands like the Arctic Monkeys, and it’s got a bit of a quirky “la la la” section to keep things carefree and prevent the whole thing from getting too serious.
Despite the dance-oriented structure, the album does have room for some deeper tracks. “Taste Back” is an example, with the song feeling like a dialogue with someone from the past, the rhythm never quite heavy, yet always persistent in the background to Styles’ contemplative lyrics. “The Waiting Game” is another track that benefits from restraint, instead of launching into a big chorus, the song thrives on the tension hiding just below the surface, reflecting the confusion that can come in relationships where nothing is ever quite defined.
The most unusual and experimental track is “Season 2 Weight Loss.” This is a song that appears to be embracing its unpredictability, with the rhythm stammering in unusual directions, Styles playing loosely with the rhythm of the melody. It’s a chaotic track, and yet, it’s also a track that feels very deliberate, showing that this is an album that is just as interested in experimentation as it is in coming up with catchy hooks.
However, the tone changes once more in “Coming Up Roses,” which provides one of the more cinematic sounds on the record. The strings and other instruments are more muted and surround Styles’ vocals in a way that is both romantic and hopeful, yet uncertain at the same time. It’s almost as if the song is the pause in the middle of the night when the dance floor is clearing and the conversations are more intimate.
Finally, there is the self-awareness in “Pop.” The funky instrumentation and production make the song feel as though Styles is winking at the pop star image he has had since his teenage years. Rather than shunning the image, he seems to be embracing it in a way as he examines the strange duality of being an artist and a pop culture icon.
If the album promises disco “occasionally,” it’s safe to say that this promise is fully delivered with “Dance No More.” This is the album’s most direct nod to the genre, with its groovy rhythm guitars and infectious beat that’s almost begging to be danced to. The irony of the title is what makes the song so endearing, as it’s arguably the most danceable track on the album. In many ways, this song is the emotional release point for the album, as all the experimentation and tension lead to the unbridled joy that is “Dance No More.”
The reflective “Paint By Numbers” brings the album full circle, as it explores the world of expectations and identity through softer instrumentation and lyricism. This is the reminder that despite all the glitter and the grooves, Styles is still an artist with a deep interest in the personal side of his career, questioning the roles that people expect him to fulfill and the pressure that comes with maintaining that image.
Finally, there is the closing track “Carla’s Song,” which provides a sense of resolution at the end of the record. The pace slows down considerably, allowing the record to end on a contemplative note. The song is the afterglow of the night. It is the time when the music stops, the crowd goes home, and you are left alone with your thoughts, which were forgotten in the rhythm as the sun rises.
Kiss All the Time. Disco, Occasionally. is the sound of an artist finding the joy in experimentation once more. It is the sound of dance music, funk, and indie all coming together in a way that still has the emotional sincerity that has always been a part of Styles’ work. It does not ask the listener to listen to the record but rather asks the listener to dance along.
While the record promises disco occasionally, the moments when it does are enough to leave a mark and show that sometimes the best reinvention comes when the artist allows themselves to follow the rhythm wherever it leads.
