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French singer, producer, and DJ Oklou's debut album, choke enough, is a truly unique and innovative work that captures the feeling of a waking dream. It inserts an honest, lucid reflection into its heart, creating an ebb and flow that feels like a derailed memory. There is cohesiveness, and this calculated relinquishment of control over the energy throughout the tracks is repeatedly strengthened by a buildup of electronic pulses and increasingly raw lyrics, which is a testament to Oklou's innovative approach to music. 

From the record's opening moments on "endless," choke enough immediately establishes a palpable sense of isolation and vulnerability as a deconstructed symphony of metronome-like ticks and strings, like an orchestra, tune up in the underground. Oklou's airy vocals, floating over shimmering synths and dark, pulsing beats, not only evoke a deep emotional connection with the listener but also make them feel intimately involved in Oklou's introspective journey. The rich and immersive production crafts a soundscape that blends neon-lit midnight reflections and fleeting, fragmented memories.

"ict" is a delicious gem on the thirteen-track body of work, with giddy nostalgic lyrics delivered over shimmering trance-like stabs. The droning electronic pulses and rich French horn make the track a standout from the start. Featuring production from AG Cook, the song starts off feeling like something out of Astrid Sonne's discography and leans into the album's hyperpop influences. Cook's production adds a unique layer to the track, enhancing its nostalgic feel. Once the lyrics are swirled into the mix, the production picks up as if it's realizing the absolute whimsical absurdity of her love letter to an ice cream truck driver.

"take me by the hand" introduces itself with atmospheric sonics paired with snowy, sparkling synths, creating a unique sonic landscape that feels futuristic and nostalgic. Oklou's gentle vocals, a blend of ethereal and earthy, lure in and lull the listener. Over the three-minute run time, they deal with the desire to seek collaboration and support through life's hardships, burdened by the limitations of communicating only with words. Joined by Bladee, the two trade-off vocals, from the airy, transient aspects of Oklou's parts and the weightier aspects of Bladee's artistry, creating a song that comes together in the most satisfying, brain-scratching way.

Dystopian, sharp lyrics seep through "plague dogs," nodding to the animated 1982 film of the same name. The fragmented verses allow the listener to explore their meaning and find four ways to take the same phrase. The song explores complex themes like the idea of second-hand experience and the contrast between seeing something firsthand and through surveillance. Oklou paints a picture in the surveillance of second-hand experience to contrast and coordinate with seeing first hand, with lines like, "Today on the news they showed them / Oh, I was there, yeah, I was there/  I can tell you what happened / Riding along the coast and amongst the sea foam, I saw them / Drawing poems in the sand with the tires / Dancing with helicopters above."

The final song, "blade bird," brings the record to a fluttering close. When the 808s come in, it elevates to a post-dancefloor anthem. It's like opening a window to hear some mysterious sound from outside, just a little more transparent. With a sugary tone that recalls the '50s and '60s girl group pioneers like The Shirelles and The Shangri-Las, she sings with a bittersweet acceptance, "I've come to terms / My baby is a bird / When you're in the sky / I'm hoping you'll return."

In the mystical worlds Oklou builds in her lyrics, there lies a deep sense of introspection. Her words, which feel like fragments torn from late-night ruminations, are paired with a dynamic production that keeps the album alluring, and the intensive layering of sound maintains a sense of sharpness and purpose. The record is a perfect fit for fans of atmospheric electronic music who crave vulnerability and innovation, offering a unique experience that is hauntingly beautiful and unmistakably original.

Listen to choke enough below: