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Jacob Collier doffs his hat to all the right influences, is receptive to a polyphony of ideas and proficient at myriad instruments. He is beloved by Quincy and Stevie and Joni, the kind of preternatural wunderkind who has not been seen since Amadeus. His ever-unwinding-ball of-string Djesse project has been the decade-long o’erflowing of a brilliant mind, yielding him six Grammys. But, speaking frankly: where are the hits? Whither the bops? With Djesse Vol 4, the apotheosis and the nadir of pop culture have been reached as one. Unwieldy and painfully overwrought, it contains every genre of music, sometimes three or four within a single song. Many songs feel less an act of creation than a kind of murder — sometimes several counts of multiple homicide. There is the needlessly self-indulgent version of Bridge Over Troubled Water, which renders Paul Simon’s beautiful lyrics in one long, unintelligible warble, and 100,000 Voices, which careers through ambient, raga and Yesterday by The Beatles before wrapping up with 30 seconds of death metal. The virtues of Collier’s songwriting are undone by the number of boxes he’s frantically trying to tick.