Harry Styles’ New Album: A Toronto-Inspired Sonic Journey

Harry Styles, the global pop sensation, has unveiled his fourth solo album, “Kiss All the Time. Disco, Occasionally,” a project four years in the making. While Styles has experienced the unique disconnect of not being able to enjoy his own concerts as a fan, this album aims to capture the exhilarating anonymity of being in the crowd. The album, born from sessions in Berlin with producer Kid Harpoon and Tyler Johnson, showcases a fascinating evolution in Styles’ sound, drawing inspiration from the city’s vibrant electronic music scene.

Berlin’s Influence and Electronic Explorations

Styles’ time in Berlin proved pivotal. Immersing himself in the German capital’s electronic music culture, he began incorporating influences from artists like Four Tet, Floating Points, Jamie xx, and techno DJs Ben Klock and Fadi Mohem into his musical palette. This shift is evident in the album’s repetitive, physical productions – synths that pulse with arpeggios and driving bass kicks, creating a meditative quality. The album consistently evokes a mood without sacrificing musicality.

‘Aperture’ and the Pursuit of Freedom

The album’s opening track, “Aperture,” serves as a perfect introduction to this new sonic direction. A five-minute slow burn built on accelerating synths, it’s a song Styles describes as inspired by LCD Soundsystem and The Durutti Column. The song hints at a central theme: freedom found in anonymity, on the dance floor, and in the exhilarating rush of music. This exploration of freedom continues throughout the album, though often with a measured restraint.

Standout Tracks and Bold Experimentation

The latter half of “Kiss All the Time. Disco, Occasionally” is particularly strong. “Dance No More” is a dopamine rush, a funky track that practically demands movement, echoing the energy of Rick James’ “Super Freak” and the vibrancy of drag culture. “Ready, Steady, Go!” bursts with maximalist production and Spanish guitars, while “Pop” is a lustful, electric experience, drawing clear inspiration from Hot Chip.

However, the album isn’t without its moments of experimentation. Tracks like “Season 2 Weight Loss” see Styles’ vocals submerged in the ambitious production, while “Coming Up Roses,” written solely by Styles and featuring a 39-piece orchestra arranged by Jules Buckley, brings his signature romanticism to the forefront. Lyrical nods to Simon & Garfunkel on “Carla’s Song” and “Dance No More” offer a touch of familiarity, as does the acoustic intimacy of “Paint By Numbers,” reminiscent of his “Matilda” moment.

Fame, Community, and the Power of Music

A key revelation on the album is Styles’ understanding of fame. He sings, “Oh, what a gift it is to be noticed,” but quickly adds, “But it’s nothing to do with me.” This realization highlights his belief that fame is a conduit for community, not its source. The album, while taking risks, remains grounded in a sense of understated approach, as seen in tracks like “Are You Listening Yet?” and “American Girls.”

A Subversive Album and a Bold Step Forward

“Kiss All the Time. Disco, Occasionally” is a subversive album, one that doesn’t adhere to contemporary pop star conventions. It’s likely to be divisive among his fans, but it’s undeniably unexpected. Despite the risks, the album feels restrained, a deliberate choice that ultimately enhances its impact. Even amidst the haze of a crowded nightclub, Styles remains distinctly himself. The effort to break free from expectation, however, feels like pure elation.

Rating: Three and a half stars out of five.

On Repeat: “Pop,” “Dance No More”

Skip It: “Taste Back,” “The Waiting Game”

For Fans Of: Residencies, loosening your necktie, 2010s electro-indie

You can learn more about Harry Styles and his music on his official website.

For more on the Toronto music scene, check out BlogTO’s music section.