After finishing his 22-month long global tour in 2023, British singer and songwriter Harry Styles took a well-deserved step back from the public eye without leaving any hints as to when his return would be. During his break, fans kept close tabs on the celebrity, spotting Styles in attendance at the election of the new pope in Rome and as a competitor in a marathon in Berlin, where he finished in less than three hours (pretty much everywhere but the studio). 

After mysterious billboards teasing the release of a new record started showing up in major cities around the world, on a random Thursday afternoon in January, he at last announced his widely anticipated fourth studio album “Kiss All the Time. Disco, Occasionally.” (KATTDO); I almost dropped my phone out of sheer surprise and excitement.

While this album was critiqued for a lack of substantial lyricism (with some coining it as elevator music), I believe that Styles’ exploration of a new type of sound was worth the wait because of how he honed in on the value of connecting with each other through music.

As the lead single for the album and the first track, I think it is completely representative of what Styles hoped KATTDO would be all about: intentionally embracing positivity, dancing, and having fun. The slow build in the beginning was unlike any other song made by him before, and I think that it was nice to ease into it instrumentally before the lyrics began. The bridge was definitely the strongest aspect of this song, though, especially because the repetition of the “We belong together” in the chorus felt a bit redundant. All in all, “Aperture” truly set the tone for a synth and beat-driven record.

What initially struck me on my first listen was the screechy sound that was immediately mellowed out by a soothing piano and his voice; I think that this juxtaposition is cleverly done with the intent of paralleling his purpose in making the song. In an interview with Apple Music’s Zane Lowe, Styles explained that the song’s concept stemmed from noting that settling down with someone not only harbors a sense of uncertainty, but also a kind of “magic.” The sharp contrast between the two sounds exemplifies that. Similar to his songs like “As It Was” and “Satellite,” the upbeat nature of the song belies the more sentimental intent behind the creation, and I really love this because it forces you to listen beyond the cheerful chorus and truly hear what Styles is attempting to convey. 

In truth, I wasn’t the biggest fan of this song in the beginning. However, it definitely grew on me after the third or fourth listen. I especially loved the instrumentals during the prechorus line “But you call Leon” (though I’m not sure what that means). The megaphone-esque sound effect on his voice was a cool experimental touch, and after watching “Harry Styles: One Night in Manchester” on Netflix, I am super excited to see if he will do the microphone-swap on stage to bring this aspect of the song to life.

This track marked a stark change in tempo for the album, and I loved it. The humming sound in the beginning generated a sense of suspense and a hint of introspectiveness (as if Styles is questioning, “Hm, hm, hm?”), building up to what is an eventually fast-paced song. The record’s overall theme of promoting having fun is also upheld, especially with the lyric, “If you must join the movement, make sure there’s dancing.” Overall, I love the self-questioning, reflective nature of this song.

As soon as the song began, I knew it was going to be one of my favorites. While the beginning did remind me a bit of a “Geometry Dash” melody, the transition into the chorus immediately captured my attention, and I felt like singing along. I loved how Styles’ voice in this song was softer in comparison to “Are You Listening Yet?” because of the more mellow vibe it brought about. The instrumentals near the end of the song, combined with the echoey questioning of “Did you? Did you?”, also created this introspective and almost nostalgic feeling. This was definitely one of the best off of the album, in my opinion.

After looking closer at the lyrics, the point of this song seemed to be about playing “The Waiting Game” for someone but never achieving anything substantial from your patience. Also in the interview with Lowe, Styles mentioned that this song was the first he wrote since he settled down in Italy and said he was in a “zone of reflection” about “behaving the same way.” Thus, what I think is most beautiful about this song is its vulnerability as it’s something people can relate to. 

Right off the bat, this song strongly reminded me of “Headlock” by English singer Imogen Heap because of the instrumentals. This song definitely felt more representative of the “disco occasionally” part of the album because it strays away from Styles’ more traditional manner and taps into more techno elements. Notably, at the end of the song, I loved Styles’ isolated vocals combined with the soft sounds of piano. It added a final somber touch to this song that people might have missed amongst all the cool effects.

While this song wasn’t officially released as a single, fans were able to hear it before the entire album was released because British producer Frederick Gibson (Fred Again) played it during his set at Alexandra Palace in London in February. Now, after listening to it fully, I appreciate the sincerity and vulnerability conveyed throughout the song, like in the lyric, “As I fumble my words and fall flat on my face through the truth,” suggesting a sense of nervousness and hesitancy. I was shocked by the angelic sound of the strings at the end; it was truly a beautiful addition. The song really touched my heart, especially ending with the sweet line, “It’s only me and you.”

After watching American influencer Brittany Broski’s blind reaction to it on her Royal Court episode, I was excited to see what about this song warranted her hilariously devout reaction. Now, I fully understand her: The song’s chorus is so catchy, and the way he enunciates the word “pop” is a fun creative touch. The track itself is more chaotic (in a good way) in comparison to the others; to me, it seemed to be about breaking away from a “squeaky clean,” repetitive lifestyle and embracing change. It was one of the most memorable from the album for sure.

In an interview with the entertainment company Audacy, Styles explained that during his break, he took a step back from the spotlight to remember what is so special about being an audience member. As a result, he wanted his next album to showcase that, and if any song represents this, it’s “Dance No More.” The end of the song is for sure the most exciting part, and I can see it being a great one to dance along to during a concert because of its upbeat nature.

As soon as the song opened with the paradoxical statement, “Oh what a gift it is to be noticed, but it’s nothing to do with me,” I was hooked. I feel as though this song was about reflecting on Styles’ life spent in front of the public eye and having this pressure to feel like he’s the “luckiest” because he’s “holding the weight of American (children’s)” hearts. This track was beautifully sentimental, shifting the tone of the album to the tenderness Styles is known for in songs like “Fine Line” and “Little Freak” (though I don’t think this song is quite as comparable to them because they have different vibes overall).

Though I was sad to get to the end of this wonderful album, “Carla’s Song” was the perfect way to finish it off. I loved the beat of the song and the backing vocals repeating, “I know what you like, I know what you’ll really like,” lyrics that showcase having a passion for something and sharing it with someone you’re close to, which I think reinforces the sense of community and togetherness Styles hoped to convey in this record. The ending especially reminded me of his song “Satellite” with the synth-pop instrumentation, one of my favorites off of “Harry’s House.”