On March 6, 2026, after a four-year hiatus that left fans in a constant state of anticipation, English singer-songwriter Harry Styles returned with his fourth studio album, Kiss All The Time, Disco Occasionally. Fans predicted KISCO, the Harry-approved nickname for the project, would mirror the radiant, euphoric tone of his third release, Harry’s House, but this couldn’t be further from the truth. From “Aperture” to “Carla’s Song,” the album invites listeners to discover a reimagined Styles, one who redefined his artistic identity by venturing into the vastly uncharted genre of disco.
“Aperture”
Released over a month before the actual album, “Aperture” is KISCO’s lead single, and for good reason. I found myself dancing not even a minute in, and it’s impressive how Styles connects the song’s airy tone to the definition of the title itself: the part of a camera that lets the light in. He directly references this when he sings “It’s best you know what you don’t / Aperture lets the light in,” which allows listeners to make the correlation.
“American Girls”
For a song that’s trending on every social media platform known to man, I wish it were better. The lyrics are extremely basic and surface level in terms of symbolism, but then again, when an artist’s main goal is to make people sing along, perhaps simplicity is the way to go. Styles sings “‘I’ve known you for ages’ / It’s all that I’ve heard / My friends are in love with American girls,” which only makes me wonder why he cares about his friends’ girlfriends so much and, more importantly, if his friends know he’s talking about them. I still don’t know how I feel about this one.
“Ready, Steady, Go!”
This song is by far the best on the album to “disco out” to, as the electronic synths combined with the consistent guitar strumming is unlike anything I’ve ever heard. This would have undoubtedly topped the charts in the early 1970s but, at the same time, would also fit on the Despicable Me soundtrack perfectly. “Ready, Steady, Go!” is a testament to not only Styles’ creativity, but also his versatility, as it fits perfectly with the album’s vibe but couldn’t be more different from the vibe of his other two.
“Are You Listening Yet?”
“Are You Listening Yet?” is, unfortunately, my least favorite song on the album, as it took me a few times to listen past the first minute and fully comprehend what Styles is trying to say. His voice sounds extremely sloppy for the first 30 seconds, almost like he was in a rush and didn’t have time to record more than one take, and I didn’t connect with the first lines of “God knows your life is on the brink / And your therapist’s well-fed.” While I’m sure many people enjoy this song, the relatability component suffers, and it suffers hard. Similar to how authors hook their readers into their books, artists have to do the same by inviting listeners into their experiences. I want to like this song, but sadly, I don’t feel as though Styles is inviting me.
“Taste Back”
The first twenty seconds of this song are pure magic, as they automatically transport me back to the time I got sprinkled with gold pixie dust at Disney World as a kid. I particularly like how the beat drops so dramatically that it feels as though the instrumentals are the main part of the song instead of Styles’ voice, when in reality, it is the other way around.
I love how he repeats “You just need a little love, need a little love,” because some people do, in fact, just need joy in their life. I also love how Styles adapts his voice throughout to meet the pitch of the fluctuating synths, as he even whispers at one point. Even though I’m not sure as to why, this song makes me feel good about myself, and it’s one that I’d keep listening to.
“The Waiting Game”
When I first played “The Waiting Game,” I automatically thought I had clicked on the wrong song because of how much the first few seconds sound like country. Styles doesn’t often utilize acoustic guitar, but here, he executes it perfectly with minimal instrumentation. The lyrics “Playing the waiting game / But it all adds up to nothing” remain at the forefront, almost making the listener feel like they’re suspended in time. This song is extremely beautiful, but I worry that it might get understated. Because the song is vocal-heavy rather than pure instrumentals, people may choose to skip.
“Season 2 Weight Loss”
When Styles announced the tracklist weeks before the album’s release, I had a debate with myself when I came across this title for the first time. I initially thought it was about his physical weight loss as he entered a new phase of his life, but I now understand it is a metaphor for gaining confidence in the spotlight. The lyric “Do you love me now? Do you? Do you” broke my heart, as I firmly believe that Styles is telling the truth about struggling with the need for adoration. This song could be more audibly appealing, but in terms of relatability, Styles couldn’t do a better job. His vulnerability about his struggles in the limelight is what I wish more artists would address.
“Coming Up Roses”
With its euphoric orchestral opening and Styles’ soft spoken lyricism, “Coming Up Roses” contends itself as the best song in his discography. This song seamlessly blends elements of his Fine Line album with the entire La La Land soundtrack, perfectly balancing the violin pizzicato and cello vibrato to resemble a ballad. The last minute of the song is filled with the most beautiful instrumentals I’ve ever heard, and when I close my eyes, it’s no different from sitting in an orchestra hall.
While it’s common for music enthusiasts to argue that cathartic lyricism is what makes a song “top tier,” “Coming Up Roses” proves that lyrics don’t have to be overly expressive to be authentic. There are only two distinct verses in the song, and Styles only repeats one simple line: “There’s only me and you.” Despite its simplicity, this is my favorite song on the album by far; I get chills and melt into my seat every time I listen to it.
“Pop”
Like most songs on the album, “Pop” is pure happiness and, as the title suggests, picture-perfect pop music. Styles is singing about a new relationship that he knows can’t last, but he decides to pursue it anyway. There’s no way to describe the song’s vibe other than pure energy, as it makes you feel restless, apprehensive, and cheery all in one. Although, I do wish I could hear Styles’ voice more throughout, as I often skip the last minute because I find the background music quite repetitive.
“Dance No More”
The title “Dance No More” is quite ironic, given the fact that listening to this song makes me want to dance even more than I had been. This song is reminiscent of “Another Brick in the Wall” by Pink Floyd, as it is similar to the call and response production style that the band frequently uses. Styles screams, “DJs don’t dance no more,” and the people respond by shouting, “They don’t dance no more.” It makes me want to groove, and the “Respect your mother” line always makes me giggle.
“Paint by Numbers”
“Paint by Numbers” taps into Styles’ grief and days as a Directioner, as he mourns his late bandmate Liam Payne when he sings the line “I’m not even 33?” Compared to the rest of the album, its melancholic tone paves the way for its stripped down production, especially because our first encounter with the instrumentals is at the end of the song. Although, it is extremely nostalgic, as the line “Paint by numbers / Watching the colors run” is a metaphor for following your path regardless of changed circumstances.
“Carla’s Song”
This is a very best friend-esque song that reminds me of “Satellite” from his Harry’s House album. It also reminds me of “Vienna” by Billy Joel, as although it is unclear who exactly Styles is singing about, you can infer that there is a future for them from the hopeful bridges and production. This is a perfect ending to the album, as Styles talks about embracing life to the fullest and fulfilling your destiny, and he couldn’t close it in a better way.
