Okay Kaya’s fourth LP, Oh My God – That’s So Me, finds the Norwegian-American artist (born Kaya Wilkins) at the height of her lyrical prowess, creating a masterful collection of songs that juxtapose the mundanities of the human experience with her signature saccharine vocal melodies. Known for an anti-poetic style that frees listeners from the weight of constant perception, Kaya continues to explore the depths of identity, fiction, and language. This album, created in a state of semi-isolation, is a powerful meta-examination of human behavior and the obsolescence of language, delivered with Kaya’s trademark wit and emotional candor.
Since her breakthrough with Both (2018) and the award-winning Watch This Liquid Pour Itself (2020), Kaya has developed a dedicated following, drawn to her laconic wordsmithery and dreamy, yet biting, lyricism. With Oh My God – That’s So Me, she doubles down on her self-realized nature, reflecting on themes of inner versus outer expectations, and the modern artist’s relationship with perception. Much of the album was composed and produced in perfect solitude following her move to a secluded island home in Norway. The isolation created a set of limitations that Kaya turned into creative fuel, allowing her to dig deeper into the abstract concepts of multi-platform existence and the imagined realities within art.
Despite this introverted setting, Oh My God – That’s So Me feels far from withdrawn. It is rooted in Kaya’s memories of her childhood in Norway, with the natural environment inspiring her writing. This sense of déjà vu permeates the album, with familiar sounds and experiences transformed into something both intimate and universal. The album opener, “The Wannabe,” begins with a peaceful reflection: “I love my mantra, I love my man, I love most everything,” before diving into a meditation on the artist’s eternal question of outer expectations versus inner sanctity. Kaya navigates these themes effortlessly throughout the record, her lyrics filled with wit and a keen sense of observation.
Tracks like “The Art of Poetry,” “Help! I’ve Been Put Into Context,” and “Check Your Face” wrestle with the meta-examination of fiction and the influence of language on human behavior. Kaya’s lyrics shift from deeply poetic musings to sharp, meme-like commentary, showing her skill at balancing humor with depth. On “Check Your Face,” she captures this duality perfectly, offering an upbeat, chill sound that contrasts with the deeper messages lurking beneath the surface. Her ability to balance contradictions is a constant throughout the album, and it’s this very skill that makes her music so compelling.
On “Space Girl,” a cover of the Shirley Collins original, Kaya delivers a transatlantic love story that pushes her sound in a new direction. Her usual delicate melodies give way to metal-inspired screamed vocals, as she explores a tale of interstellar romance and the tension between expectation and fate. This sense of freedom—both sonic and emotional—feels congruent with the natural isolation of her new home, where creativity thrives in the quiet. It’s a bold, transformative moment in the album that underscores Kaya’s desire to push boundaries and experiment with her sound.
The many moods of Oh My God – That’s So Me provide a collection of alter egos, each song exploring different facets of Kaya’s artistic persona. Lead single “The Groke” stands out with its bass-heavy, disco take on darkness, while tracks like “Oh Minutiae” showcase Kaya’s knack for capturing beauty in the details. Her ballad-like harmonies and strings elevate even the smallest of observations, making the ordinary feel extraordinary. Whether exploring the fickleness of feeling on “And I Have a Blessed Life” or reflecting on love and loss on “My Berenice,” Kaya’s lyrics remain complex and deeply personal, creating a multi-sensory experience for the listener.
Despite the album’s many sonic transformations, there’s a sense of unity across the record, with each track feeling like a ‘friend’ within the larger family of songs. Kaya’s exploration of life’s meaning, language, and the human condition is both relatable and revelatory, offering listeners a warm embrace as they navigate their own multiplicity of existence. The album’s casual title, Oh My God – That’s So Me, contrasts beautifully with the detailed, poetic lyrics found within, creating an anti-poetic masterpiece that frees listeners from the burdens of self-perception.
All songs on Oh My God – That’s So Me were written, recorded, and produced by Kaya Wilkins in 2023-2024 on the outskirts of Oslo, Norway. Through its many transformations, the album remains true to Kaya’s instinctive approach to art, challenging listeners to embrace the freedom that comes with being unapologetically themselves. Kaya’s work continues to evolve, and with this release, she solidifies her place as one of indie music’s most captivating and innovative artists.
Oh My God – That’s So Me drops tomorrow.
Hands down.