The Norwegian-American Multi-hyphenate handles existentialism and desire with peculiar humor and gentleness on third LP
“Sap reminds me of the bodily functions I need to remember to do, like sleep. One might say it ‘resinates.’”
There’s little doubt that Kaya Wilkins, the multidisciplinary artist behind Okay Kaya, has a sense of humor. On her last LP,, tracks like “Psych Ward,” “Asexual Wellbeing,” and “Guttural Sounds” reinforced her knack for injecting astute humor into her sonically whimsical creations. But as her quip above shows, her strongest skill is her acute capacity to draw associations and run with them.
Over two albums and two mixtapes, Okay Kaya’s gift for obscure metaphor and forward-thinking structures made her an appealing figure in today’s art-conscious alternative pop. While her production and silky voice are as ethereal as ever on, it would be hard to call it sleepy. Even a song as foggy as “Origin Story” commands attention as Kaya looks back in resentment of her own origin, stating “I am scum / I am cum” and “Wish I came / From no one.
High point “Inside of a Plum” visualizes a ketamine therapy session. Franziska Aaigner’s cello augments the warped reality Wilkins envisages, one where her orgasm is best described as “scuba diving in space.” Aaigner is just one of over a dozen collaborators on, figures who Wilkins invited into the picture once it became safer to do so. They range from the familiar indie stalwarts like Adam Green to emerging New York art-pop figures like Bryndon Cook to lauded composers like Eli Keszler .
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