With a name taken from a Zombies song, psychedelic chamber pop group Odessey & Oracle tweak their ornate yet distinctly breezy sound on their third album, Crocorama, by relying on vintage synths and keyboards (all exclusively from the 1960s through the '80s here). While it expands their already varied palette, the approach still leaves them recognizably Odessey & Oracle, as they keep traces of the Baroque, Tropicalia, and electronic music that have whimsically adorned prior releases. Opening track "Chercher Maman," for instance, incorporates an actual harpsichord, alongside contrapuntal guitar. That's just part of the song's web of bright treble voices, which also includes flute, electronic keyboards, and multiple singers, among other components. Its gentle, affectionate tone sets the stage for an album of sweetly playful, tuneful tracks, among them the trippier "Les Poupées Mécaniques" and lighthearted "Mascara." The latter's funky guitar, shaker and hand drums, flittering flute, trumpets, and lead singer Fanny L'Héritier's "bah-dah-bah-dah" syllables accompany surreal lyrics about the end of summer ("Coups d'soleil, souvenirs bon marché/Cœur brisé et popcorn écrasé" -- Sunburns, cheap souvenirs/Broken heart and crushed popcorn). Elsewhere, the title track combines the contrasting sounds of banjo and blippy electronics, and "Ferdinand l'Albigeois" launches into a very Baroque Baroque-pop. An escapist album at heart and by design, Crocorama feels like a 41-minute trip through time and space with remarkably charming strangers.