What has been lost to the boom in electropop and alternate genre takings is the artistry. Choke Enough strips away the layers of public endorsement, the big stage production and faux style which can be found in the biggest alt-pop names and instead focuses on an instrumental quality lost in the hands of Ava Max and Dua Lipa. Both are credible pop sensations, but neither is great at defining the genre’s true potential. They can capitalise on it, sure, but they cannot do what Oklou does on Choke Enough. It’s not a matter of pitting one artist against another; it’s merely showcasing how one artist can do more than most when they’re not focusing on popularity. Just look at the featured artists on Choke Enough. Underscores are similarly responsible for fantastic work with Wallsocket. It’s the artistry which is at the core of Oklou and Underscores. They are an alternative to the alt-pop grift. What a welcome change.
Sentimentality isn’t everything, but it certainly helps to have a splash of it. Oklou knows that. Opener Endless has a floaty, dream-like charm to it while also highlighting the constant that Choke Enough relies on. There’s plenty to love about the atmosphere and urgency Oklou creates but what comes through irrespective of your interest in electropop is a considered understanding for subtle detail. Family and Friends highlights this best of all, a song that could readily blow up into one of those chart-topping, commercial observations. But the reserved structure of the song, those little flickers of instrumental life, add to an atmospheric thrill Oklou maintains throughout. ICT showcases this commitment to mood-setting music too. Not every song has to be an emotional transaction. Choke Enough dares to let the quiet consume its listener. It’s a stark difference to the overwhelmed aesthetic choices found elsewhere. What an alternative this is, then, and a true reassurance that the genre is in the right hands outside of the pop cycle. Burst the bubble.
Crucial to all of this is the title track. A soft thrill where, once again, expectations are subverted. Oklou fits in a few boisterous and bold electropop moments but the real charm comes through the theories presented, the instrumental back-and-forth which brings out the best in these electronic highs. Layer some strong writing on top of that, and Oklou has a masterclass on their hands. Crashing cars to cause a moment worth remembering, it’s the take and take again of modern living which is given a rundown here. There’s that magic ability heard on (;´༎ຶٹ༎ຶ`), for instance, where the sirens and alarms are quiet enough to have you wonder if it’s coming from across the road. Little details like that add up to a charming whole, an often fantastic album which will charm and then crush a listener with ease.
Such is the case for any strong electropop album. Where you feel you belong is likely not the place you stay. Once comfort sets in it’s time to move on. Not from better halves or opportunities, but to continue that challenge. Choke Enough often calls on a listener to push themselves that little bit further. Album closer Blade Bird does just that, acoustic guitar sentimentalities and all. We may push ourselves too far and return one day to the comforts of the past, but that’s alright. It’s the risk and adventure which comes from challenging yourself, as Oklou does on Choke Enough, that makes life a thrill. A welcome change of pace to what is already out there. Choke Enough slows it all down, focuses on the instrumental layering and the strong messages to come through as a result. It’s a tremendous piece of work, an exceptional debut, should we discredit the preceding Zones Without People game soundtrack.
