Harry Styles is no stranger to fan adoration and the success that follows. At the last stop of his 2023 tour — the fourth-highest grossing of all time — more than 100,000 people showed up to watch the superstar take his final bow. Styles then faded from the public eye and into the memory of the fans left hoping he would soon return. Unbeknownst to them, Styles was not sure about his return, nor about what he had left to say as an artist. Taking almost three years off, he began a journey of self-discovery to define what mattered to him and who he was beyond the entertainment industry.

That self-discovery has culminated into one of his greatest works yet.

Released on Mar. 6, Styles’ fourth studio album “Kiss All The Time. Disco, Occasionally.” is experimental but never inauthentic. With strong synths, electric guitars, distorted vocals, and kick-drum samples, he aims for the moon and lands among the stars with a cohesive project that is nothing like what he has previously put out.

In 2020, Styles shared that the creative process early on in his solo career was like “bowling with the bumpers up.” With his previous three albums, Styles — given his talent — elevated his projects as he evolved musically. Yet, notes of restraint cannot help but be felt in “Harry’s House,” where the songs did not expand sounds he hadn’t already succeeded with. In his newest album, that feeling is gone.

The album opens with “Aperture,” Styles’ most ambitious lead single yet. Just over five minutes long, “Aperture” is a testament to Styles finally feeling comfortable as an artist and establishing an identity that no longer involves concerns about chart success. Strong bass lines with electronic and techno inspired elements are weaved throughout, aiding him as he sings, “We belong together / It finally appears it’s only love” in the chorus — a motto that represents the community that his fans have built. The track, while heavy on production that shadows his vocals, alongside lyrics that are surface-level, asks to be felt rather than heard — and succeeds in doing so.

“Kiss All The Time. Disco, Occasionally.” is successful largely because of the striking instrumentals on display throughout the project. Whereas “Aperture” still shows restraint, “Ready, Steady, Go!” is a seismic shift in Styles’ sound and the first to demonstrate how he took inspiration from Berghain, the German techno nightclub he frequented during his time away. With bass lines, distorted electric guitar, and strong vocals, Styles’ delivery in the lines “One time is alright / Two times is one too many / One, two, three times you’re on me and suddenly / Ready, steady, go” makes the sensual nature of the song stick. In a nod to his leisure time in Italy, he operatically sings “Pronti, quasi, vai” in the bridge — Italian for ‘ready, steady, go.’ He also opts for a radio-like distortion of his vocals through the chorus and a brief but powerful synth key instrumental — decisions that strengthen the track and make it one of the best on the album.

Following the experimental techno theme, “Season 2 Weight Loss” is another gem. Reminiscent of Imogen Heap, Styles intertwines a somber theme with engaging production. As he exclaims, “Holding, holding out / Hoping you will love me now / Do you love me now? Do you? Do you? / Do I let you down?,” he allows for an introspective listening experience with effects that linger long after the end.

In an interview with Zane Lowe, Styles explained the song as a representation of the question he feared to ask fans: “Will you take me as [I actually am] or are you taking me because I show up as this version of myself that you’ve kind of desired from me in some way?” The vulnerable message of feeling insufficient resonates heavily with listeners and is accompanied by Styles’ opinion that “You’ve got to sit yourself down sometimes,” let go of things, and keep moving forward.

“Coming Up Roses” is a standout that gives listeners the most intimacy from the British singer. Solely penned by Styles, “Coming Up Roses” is a true ballad. Opening with soft piano keys, strings, and effortless vocals, the song pairs romantic uncertainty and appreciation in a delicate package with swoon-worthy lyricism and a stunning orchestral arrangement that builds and is authentically Styles in every way. Alternatively, “Paint By Numbers” is even more delicate, yet the track’s end feels abrupt and leaves it feeling less polished and out of place within the album.

Ultimately, Styles is in a lane of his own. While “Kiss All The Time. Disco, Occasionally.” falters in not offering listeners enough standalone vocals alongside unfortunate, cryptic lyrics at times — each song adds something to this entrancing stage of Styles’ soundscape. From “Carla’s Song,” an inspiring ode to the fans, to “Dance No More,” a groovy reminder to “respect [our] mother[s]” and get out on the dance floor, each of the album’s tracks come from an artist who seems to have finally found what they have been searching for: a renewed love for music and an identity apart from it. Styles needs not conform to the industry standards demanded of him — he resets the bar every time and now does it for no one but himself.

—Staff writer Emily G. Fallas-Chacon can be reached at [email protected].