Harry Styles’ new album, Kiss All The Time. Disco, Occasionally., is a marvelous return to form for the English singer-songwriter. Plunging head-first into what seems to be his most cohesive album to date, Styles brings yearning, passion, and a desperate call for love right to the dance floor.
At this disco, there is a sense of desire and mystery in the air, an atmosphere of unspoken words that shimmer with fragments of light. The mirrorball above shines on all the nuances below, highlighting Styles’ ability to portray his deepest thoughts and emotions through his lyrics and vocals, or, in this instance, through his dance moves.
The album opens subtly before breaking out into a full jam with “Aperture.” The kick of the bass creates a feeling never felt before in any of Styles’ albums as the synth builds a disco around the listener.
As a person who is a big fan of deep bass in songs, it’s safe to say I was obsessed with this single upon first listening. I played it in my car two hours after its release, and I was consumed by the lyric “we belong together,” which was used as promotion for the album and is an overlying theme throughout the record.
If ever was there a song created to be played in a room of strobe lights and giant speakers, this is it.
Transitioning from the first track to the next, which was released as the second single from the album, “American Girls” starts mellow but Styles’ vocals are quick to shine through. This song was surprisingly underwhelming at first, along with its successor, “Ready, Steady, Go!”
However, I must say that as the days have gone by, track three has become one of my favorite songs. I now see it as a defining moment on the album, and it contributes to the theme of the work well.
Here, listeners can hear the “disco, occasionally” part of the album begin to shine through; the production of track three and “Are You Listening Yet?” are more upbeat and chaotic.
The album’s steady drums, combined with Styles’ own questioning lyrics, create a demanding atmosphere towards the subject of the song. One simply cannot resist moving to the track’s rhythm.
It is important to note that except for the opening track, all of the songs above sound as if they could be placed on any of Styles’ previous albums. This may be the reason for their slight underwhelm.
With track five, however, my whole opinion on the album changed.
“Taste Back” explores Styles’ time in France as he recalls moments spent/shared with a past lover. He states, “Must be lonely out in Paris if you talk like that,” reminiscing on previous dinners with “high school friends.”
Styles’ vocals on this track create a euphoric feeling that mirrors the one found under a disco ball: shoulders grooving, heads nodding, eyes closed.
This groove is carried onto “The Waiting Game” as the subtle production opens a new world within the album. Along with “Season 2 Weight Loss” and “Coming Up Roses,” the shift is noticeable. This part of the album feels different and new, a fresh batch of tracks that feel unique to the concept of this record.
On “Coming Up Roses,” specifically, the incorporation of orchestra creates a completely different aesthetic. Though not similar in production to the rest of the record, the track continues to feel cohesive, which is commendable.
To be able to create an album with both upbeat and laid back songs without staining its “disco” aesthetic, is a testament to Styles’ ability to create timeless pieces of art.
While listening to this track, one of the first thoughts that came to my mind was the fact that this melody seemed so familiar, almost like I had heard it before. Although I could not pinpoint why I seemed to recognize this track then, I later had an epiphany: “Coming Up Roses” and “Chloe or Sam or Sophia or Marcus” from Taylor Swift’s “THE TORTURED POETS DEPARTMENT” have almost the exact same melodies. Whether Styles’ did this intentionally or not is a question yet to be answered, but I can’t say I hate it.
Seeing as Styles and Swift have a history together, this seems very nostalgic and emotion-packed.
Track nine, “Pop,” is a pivotal moment on the album. Placed right after “Coming Up Roses,” this track picks up the “disco” production while maintaining the storyline of the previous song. Here, Styles speaks on the uncertainty faced in the relationship; however, the album also reflects on newfound affection for others.
While on “Coming Up Roses” Styles is mellow and reflecting on a past relationship, on “Pop,” he is experiencing the beginnings of what seems to be a similar connection with someone else. This track and “Dance No More” take on an energetic form that perfectly returns the album to its roots.
“Paint by Numbers,” however, is a moment of relaxation before the record’s finale. Originally meant to be the opener for the album, Styles expressed in a recent interview that he had always intended to start the album with the following lyrics: “Oh, what a gift it is to be noticed, but it’s nothing to do with me.”
Upon further development of the record, Styles decided to open with “Aperture,” which was ironically the last song written for the album.
The record “lets the light in” on Styles’ years between “Harry’s House” and this album; the tracklisting was chosen to illustrate this idea.
By opening the album with a song symbolic of a camera and its lens, Styles creates a moment of exposure that entrances the audience with recollections of his life. Essentially, Styles is choosing how much light to let in, much like the aperture on a camera.
“Carla’s Song” closes out the album with a grand finale, one last moment of brightness before the camera shutter clicks and takes a photo.
“It’s all waiting there for you,” Styles’ voice echoes. Here, Styles has become familiar with the person he is referring to and has formed an understanding that is only found after deep conversations and talks.
For me, this is one of the biggest moments on the album, and one that feels highly personal to Styles. Right before he closes the curtain on this album, he shares the message that one can begin again, awaken and see the light, and claim all that has always been. This track is a call to action, a statement of desires, and a wonderful leap to achieving one’s goals and dreams.
This closing track ties the ribbon on Styles’ best album yet. Cohesive, lyrically profound, and perfectly on theme, “KISSCO” evokes countless emotions and memories, altering its energy to form a comforting shield around its ideas, all while keeping the dance floor open.
Styles reinstills the idea that good memories will remain and that no matter how big the conflict or falling out, time well-spent should never be regretted. •
