By Bailey Devereux

March 8th 2026

Harry Styles has proved that it’s not just one direction for his music, returning with an electro-pop fusion taking his catalogue and artistic focus down a much more experimental and dance driven avenue. Four years after releasing the incredibly successful and well received ‘Harry’s House’, Styles has made many bold songwriting choices to deliver his fourth album, a record unlike anything he has released before. ‘Kiss all the time. disco, occasionally’ seems to have taken heavy inspiration from electronic musicians such as LCD Soundsystem, Tame Impala and Djo all whilst complimenting this new adventure with the vocal prowess we have come accustomed to from his previous work.

‘Kiss all the time. Disco, occasionally’ bleeds creativity in a way that Harry Styles has never shown before. Taking influences from artists you would never picture within a Harry Styles record, he manages to balance electronic dance beats and raw emotional lyricism beautifully, the album is designed to make you move and it achieves this greatly. Tracks such as ‘Ready, Steady, Go!’ and ‘Pop’ set an instant dance driven tone using a strong, thumping kick drum – without words, a listener or audience member is being told to move. Synthesizers are a huge part of this record; they are layered beautifully to create this new electro-pop world that is so unexpected. Making the conscious decision to feature mainly synthesised basslines, obscure sounding pads and beautiful arpeggiators culminates to build a sonic scape you can find yourself getting lost in. ‘Season 2 Weight Loss’ pushes the electronic sound more than any other in the track list and layers it synthesisers in a masterful way. Littered with ear candy, this album calls you back for more to find new details with every listen.

Unfortunately, there is a lack of commitment to this exciting new sound within this album. It appears the album is striving for moving bodies and high energy and this is where the album really excels. However, the energy of the record is interrupted with tracks ‘Coming Up Roses’ and ‘Paint By Numbers’. The choice to include such subdued, downcast songwriting into such a fun and uplifting album does not provide the juxtaposition it was designed for but instead, destroys the momentum of the record. With such a stark change in sound, these songs seem to be an attempt to appease the hardcore Harry Styles fans who are less likely to adapt with this new direction that has been taken.

Overall, an unexpected and well executed attempt at pushing the boundaries of modern pop music. The album melts its influences into an incredible display of electronic-pop music and has a true dance-filled energy within it. With true commitment and conviction this new release from Harry Styles would have undeniably been his best work. However, seeing Styles taking a new venture into electronic influences is an exciting prospect of which can only improve.