Classically trained in piano and cello and a co-producer on all of her tracks, Marylou Mayniel — better known as Oklou — first found traction thanks to the chronically online synth-heads of X and YouTube. Still, meticulousness and elegance have always come through in her sound. Her 2020 mixtape “Galore” saw a young, ambitious Mayniel producing with desktop drum kits and breathy arpeggios — a vision that the internet swiftly acknowledged with reverence that was as ironic as it was sincere.
Mayniel never lost that vision. Her latest release, “choke enough,” feels like an extension of 2020 Oklou; this time, however, she is equipped with all the bells and whistles to make the album something exceptional. The inclusion of simple instrumentals — strums of lightly reverberating acoustic guitar, sublime self-arranged trumpet lines and the reintroduction of her classic octave-bending arpeggios — not only elevate her sound, but keep it wholly and unapologetically Oklou.
“endless” is an uncertain opener. A bellowing ambience and a persistent line of wooden claves and kick drums support Mayniel’s voice as though it is an instrument of its own. Her voice is as faint and refreshing as ever, but feels like a secondary factor to the production’s textures that hit you head-on. Enter “thank you for recording,” where she fronts her signature wispy vocals from the start. Supported by echoing flute patterns and artificial percussion samples, she calmly sings of boredom, numbness and the hesitation that can come from deep self-reflection.
Persistence plays a key role in this album as the songs snowball off one another, accumulating more and more ambition in their sound. “ict” is a highlight because of its production, in which majestic trumpets play over a line of straining glitch tones and bold, somewhat hesitant bass. “Strawberry dancer, vanilla summer / Driver pull over, ice cream truck,” she chants, her vocals aligning carefully with the melody. It’s not clear exactly what she means, but the hypnotic cadence reminds us that if something sounds awesome, it doesn’t necessarily have to mean anything.
“harvest sky” are pinnacle moments in Oklou’s discography as a whole. In collaboration with the fellow recording artist and producer, underscores, she forges images of childhood campfire celebrations through bass-boosted lines and a simple pad progression in the chorus. The instrumentals alone are an unrelenting earworm.
By the end of the album, Oklou returns to where she began. Quiet hums complement the gentle strum of a faintly echoing acoustic guitar, carrying the album to a close. “You’re so cute, my blade is on the bird / I’ll be the one who ends up getting hurt,” she sings earnestly. For a moment, Oklou’s raw character shines beyond the glitz of her production.
There is something to be said for the elegance of Oklou’s broad and interpretive lyrics, while her sound is indisputably captivating. When one of these aspects is lacking in a song, the other prevails harmoniously and within reason. Her sound is elusive, playful and articulate, and yet still faintly cautious. “choke enough” is a major step forward in Oklou’s discography, but not yet the pinnacle of her potential — potential that is more evident now than ever before.
Contact Ian Sleat at [email protected].