Review Summary: Dynamic and dulcet baroque pop lost in harmony.
What do you get when you mix an orchestra with jangly guitar, angelic vocals, and electronic blips? It would likely be any number of modern psychedelic records, but in the best-case scenario, you get 4 Bonjour’s Parties’ sophomore effort, Okapi Horn.
Everything but the kitchen sink is thrown in throughout, but at distinctly different dosages. So many modern albums that include orchestral sections seem to regard the strings as the apex. Even though the violins and cellos are still present, 4 Bonjour's Parties decide instead to typically lead with chimes and flutes for a twinkly and airy atmosphere. The chimes are liberally sprinkled like salt on french fries, and the flutes are often the climax of a buildup. There are also plenty of acoustic guitar parts for some folk flavor, some of which, such as the tail end of "Valzer di Onesti", can verge on flashy. Brass sections, banjo, and accordion also help craft the album's baroque pop and folk style, although usually in more of a supporting role.
On top of these flourishes, the rock instruments will make you think you are listening to Radiohead with their arpeggiated electric guitar riffs, mid-tempo bass, and effervescent beeping keyboards; a particular section on “Tap Tap” should remind the listener of the keys and drums on OK Computer’s “Airbag.” Despite this familiar style, the orchestral instruments and acoustic guitar are usually leading the charge, causing Okapi Horn to be more baroque pop and folk than rock.
While the lyrics are in English, they are typically difficult to understand and are mixed as though the voice is just another instrument. Both the male and female vocals are lightly and sweetly sung, and often harmonized together. 4 Bonjour’s Parties puts very little energy into crafting engaging melodies and instead focuses on producing colorful harmonies. It may be difficult to notice when some songs begin and others end since many will change sections mid-way the same way that they will flow between tracks. This causes the album to feel hypnotic and wondrous. This is especially effective on “Hypnosis,” which jumps from chimes, to a parade of horns, to goofy beatboxing, to a flute solo, all while retaining a calming atmosphere.
Those who mainly seek out music that is rigid, straightforward, and catchy should avoid this album at all costs, but everyone else should be delighted by Okapi Horn’s resplendent beauty.
Album highlights: “Skipping Birds & Stones”, “Omicron”, “Hypnosis”, “Valzer di Onesti”
