Harry Styles’ latest record, Kiss All the Time. Disco, Occasionally, has the kind of pop pedigree that stars dream of. Since leaving One Direction, Styles has blazed his own trail through the music industry, cashing in hit after hit off the back of three straight No.1 album debuts. Still, none of his work has managed to cement itself as a classic or to find sustained success beyond a few singles. His newest release dares to repeat that trend.
Somewhat true to the name, there is a form of disco occasionally in this album, where the rest consists of standard soft pop and a single orchestral arrangement. Where audiences once speculated about revolutionary changes inspired by the death of Styles’ former bandmate Liam Payne, they are instead treated to the subdued tones of Styles’ typical fare. That's not to say that the album is bad — or even mediocre. In fact, some of the tracks on this album rank among the best in Styles’ discography, but his refusal to evolve drags this latest project down below its more innovative peers. Where Styles cites inspiration from artists like LCD Soundsystem and David Bowie, Kiss All the Time. Disco, Occasionally pales in comparison to its influences.
The album’s opening track and lead single, “Aperture,” is a foot-tapping dance cut, complete with booming bass and chirping synths. Styles doesn't sound out of place on this instrumental either, crooning softly overtop the verses before belting out the choruses. Where Styles’ melodies fall steadily in tempo and his lyrics fall awkwardly flat, synth drums drive the song forward with interesting rhythms and sonic texture. That powerful instrumental makes up for Styles’ shortfalls, creating his first truly danceable track.
Even though “Aperture” rocketed to No. 1 on the Billboard 100 on release, the song still ranks among Styles’ weakest lead singles. Far from the bittersweet anthem of “As It Was” or the nostalgic pangs of “Sign of the Times,” “Aperture” fails to accomplish anything with its new style.
Two tracks later, “Ready, Steady, Go!” carries the torch with another energetic, if short, performance from Styles. Displaying the range of his vocal timbre, Styles runs his voice through creative distortions, pitch bends and echoes for further dramatic effect. Further in the album, “Pop” features similar effects and vocal feats over a groovier beat, fleshed out over a longer runtime. Were it not for his disappointing lyrical performance, these songs would be some of the best Styles has ever made.
A later standout track “Coming Up Roses” is not nearly as exciting, featuring yet more subdued vocals and melancholic lyrics. Where the song excels is in its instrumentation, scored by gently plucked strings that build into a gorgeous crescendo. Still, that string section is mixed too loudly, which takes away from the building drama of the final chorus. Thankfully, Styles’ lyrics here are also some of his most evocative on the album, drawing up nostalgic images that make up for the rest of the track’s flaws. “The Waiting Game” similarly succeeds in lyrical content and vivid imagery, pairing the album’s best melody with a creative and bubbly beat.
Those songs notwithstanding, lyrically, Kiss All the Time. Disco, Occasionally is the weakest addition to Styles’ oeuvre. One of the worst offenders, “Are You Listening Yet,” sports clunky slant rhymes and an uneven delivery, paired with an underwhelming instrumental. For a song that is supposed to be angry and political, it’s hard to take Styles seriously when he sings childish couplets — “this unpredictable fun / is fun if you know how” — as if they’re rebellious revelations. On one of the disco-adjacent tracks “Dance No More,” Styles tries to shove too many syllables into his verses, which are themselves overpowered by the instrumental. It seems he doesn’t really have the groove for disco rhythms, and the actual content of the lyrics aren’t helping his case either: “But the music keeps hitting me like a ten out of ten.”
The rest of the album is painfully boring or subject to increasingly rote repetition, like the track “Paint by the Numbers,” which takes its own name a little too literally. Styles jarringly transitions to his well-worn style on “Paint by the Numbers,” awkwardly reverting to an instrumental driven by sleepy acoustic guitar. Equally boring is “Taste Back,” a track featuring a stale electronic instrumental and an annoyingly saccharine chorus. Placed right before the album’s arguably best track, “The Waiting Game,” the creative dearth of “Taste Back” is all the more offensive.
As a complete product, Kiss All the Time. Disco, Occasionally may leave the listener wanting, but the album’s bright spots make it more than worth a listen. Even if it doesn’t have any real disco, there’s a lot of heart to find on this album, harsh criticism aside. Hopefully Styles will be willing to take a few more risks next time because he certainly has a strong foundation to work on.