Experiment all the time. Confused, occasionally

Tobias Cotton-Selman / THE GATEPOST

By Izabela Gage Editorial Staff If you’re anything like me, you’ve been waiting patiently for almost four years for a new Harry Styles album. It’s evident Styles took his time exploring different genres. “Kiss All the Time. Disco, Occasionally” is more electric and experimental, following the emotional third album, “Harry’s House.” While the music is synth-heavy - don’t expect disco. Instead, he blends whimsical energy with introspective lyrics, producing a record where you never know what to expect. Styles opens the album with a slow widening lens titled “Aperture,” running for 5 minutes and 11 seconds. Atmospheric synths layer gradually, building into a hypnotic sound. Styles doesn’t throw you into the world of the album - he lets you settle into it. “American Girls” softens the tone, introducing a steady piano chord progression that contrasts nicely with its punchy bass line. The balance gives the song a relaxed but purposeful feel, and the chorus lands effortlessly - catchy without feeling forced. Then, “Ready, Steady, Go!” snaps that calm in half. It’s chaotic in a way that feels intentional and fun. Styles plays around with vocal filters while an infectious guitar riff drives everything forward. The production in “Are You Listening Yet?” strips back, giving space to a more vulnerable, talk-sung vocal delivery - which is the first time in his career he has leaned into that style. The frustration in lines like “You like the way she talks / But never what she says” and “The world is screaming, so / you start to scream right back” feels pointed but a bit reflective, as if he’s questioning both himself and the world around him. The drums and bass add a subtle tension, giving the track a distinct LCD Soundsystem edge. He introduces movement again with “Taste Back,” which is softer in tone, but the way the synths blend into his trailing vocals feels effortless and is honestly what hooked me first. “The Waiting Game” leans heavily into lyricism, offering one of the album’s most emotionally sharp moments. What begins with a simple guitar line gradually unfolds into the complexity of lines like, “Do you tantalize or titillate / Knowing it won’t make the grade?” The callout feels directed, capturing a quiet resignation. “Season 2 Weight Loss” stands out immediately, if only for its title. Despite the oddity, the lyrics hint at reinvention and self-awareness with lines like, “It's kind of sad, but there's something I know / Too many things for you to analyze / You're steaming in, swinging with your eyes closed.” Styles shifts into something more delicate with “Coming Up Roses.” The arrangement opens up, allowing space for orchestral elements to build and recede, creating a beautifully layered sound. The lyrics are grounded in the idea that not everything is meant to last and that acceptance can be its own peace. It feels expansive, easily standing alongside some of his strongest work like “Sign of the Times” and “Fine Line,” making it my favorite off the album. He leans into pure fun with “Pop.” It’s bright and a little tongue-in-cheek, with lyrics that feel almost nonsensical at times. That playfulness works in its favor, and it’s the kind of song that makes you want to dance. Styles keeps the energy alive with “Dance No More.” His lyrics invite you to let go and just enjoy the moment. There’s a late ’70s and early ’80s influence woven through it, echoing the upbeat feel of “Uptown Funk” by Mark Ronson. Following the exciting energy, “Paint By Numbers” brings the album to a more reflective place. Despite being the shortest track, it leaves a lasting impression as it ends on an unresolved chord that mirrors its message. Lines like “It’s a lifetime of learning to paint by numbers / And watching the colors run” capture the tension between structure and unpredictability. Finally, “Carla’s Song” acts as a gentle closing statement. Built on repetition, both musically and thematically, it explores the comfort of routine. Lines like “Saw the light in the gold that you discovered / Through your eyes, in awe / Melodies like the tide / It’s all waiting there for you” feel reflective without becoming heavy-handed. The album isn’t exactly what Styles said it would be - it leans more into a 2010s indie electronica sound instead of the vintage techno vibe he teased in interviews. At times, it’s missing the clear direction that made his self-titled album and “Harry’s House” so cohesive. It’s like he was experimenting between marathon runs in Tokyo and Berlin. And as a lifelong fan of Styles, it might not be his most polished album, but that doesn’t mean it won’t be my most-played album of the year. Rating: B+ I’d wait another four years for Harry.