| Okapi | |
| Origin: | Chicago, Illinois, U.S. |
| Years Active: | 2012–present |
| Current Members: | Scott Mitchell Gorski, Lindsey Paige Miller |
Okapi is an American musical duo composed of Scott Mitchell Gorski (upright bass, vocals) and Lindsey Paige Miller (cello), based in Asheville, North Carolina.[1]
The two met and began performing in Chicago, IL in 2012, but have called Appalachia home since moving there in 2017.[2]
Okapi's music draws from a wide variety of sonic influences, including elements of experimental music, avant-garde music, classical music, art rock, folk music, progressive rock, jazz, lied, and tango music, with Gorski's existential lyrics providing an explicit backdrop for their carefully woven pieces.[3]
Hailing from differing musical backgrounds but sharing a passion for unique approaches to songwriting, craftsmanship, and structure, they began formulating candid, cathartic, and intentionally intricate orchestrations rooted in honesty and rawness. With evocative works abundant with lyrical paintings, they present ideas both intimately and aggressively, which challenge perceptions that stimulate universal confrontations with our absurd reality, while also promoting consciousness, healthy growth, and individual empowerment.
Okapi was selected to perform at the 2022 Big Ears experimental festival alongside illustrious performers such as John Zorn, Patti Smith and Animal Collective.[4]
Okapi was featured in The Wire (magazine)'s "The Wire Tapper" (No. 63), a series of CD anthologies of new underground music that The Wire staff compiles three times a year. A track of theirs was selected to be included with The Wire Magazine's Issue No. 477.[5]
In October, 2019 Okapi collaborated with Luke H. Walker on his play The Wake of Dick Johnson, composing the score for the third run of the play at Performance Space 122 in New York City. A review of the play by Broadwayworld.com lauded their "chilling" performance, citing the band's unmistakable talent and eerie sounds. Broadwayworld wrote, "Throughout the play, the two perform with both a creepy rawness changing the tempo as quick as Dick's moods."[6]