Hi everyone, Sothony Helptano here, the internet's busiest music nerd, and it is time for a review of this new Kelsey Lu album, So Help Me God.

Here we have a new record, a sophomore record, from cellist, songwriter, singer Kelsey Lu. They have put out this album that has been a long time coming, 'cos it was all the way back in 2019 that Kelsey made a memorable but subtle splash with the beautifully arranged Blood, which I will admit the nuanced production and cerebral art-pop vibes on that record did not stop me in my tracks at the time. I really kinda caught on to this record much later due to some loving recommendations.

And while quite some time has passed since the release of that album, not all of it has been spent silent. After all, in 2024 Kelsey took part in two different movie-soundtrack projects that dropped that year, because why not? Given their classical training and family's musical background, if you've got the skill set to do it, go for it.

But, you know what, maybe the time to wait for this record was necessary to make sure all the stars were aligning, as this new LP here is dropping via the record label Dirty Hit, and it not only features production from Yves Rothman but also Jack Antonoff, and there are some interesting guest collaborators in the mix too, like modern jazz phenom Kamasi Washington, Varg², a Year 0001-connected producer and artist who has worked with the likes of Ecco2K as well as Skrillex. Sampha also appears on the song "Better Than That," and apparently even Kim Gordon is in the mix.

And look, the genre blends on this record are as interesting and as diverse as Kelsey's collaborators. Because previously, I think their music could have been placed very firmly primarily in this kind of art-pop and chamber-pop lane, but with So Help Me God here, I am picking up much bigger notes of soul and jazz, and bolder vocalizations that feel like they're landing somewhere in Björk territory, especially on "Portrait of a Lady on Fire." And sure, while I do think there is something on this album for art-pop fans, I do want to stress the listening experience of this record is really a slow burn. It's dazzling, it's layered, it's stunningly beautiful in its best moments, but the big moments come on very slowly and progressively. I mean, the opening track on this thing is the longest, at 8 minutes and change.

It's very bold of Kelsey to hit listeners with a track of this size right out of the gate. But it is a very gratifying 8 minutes for sure, as it kicks off kind of like a very gorgeous, unassuming soul ballad with some throwback keys and drums. But Kelsey's extra bits of string work and expressive vocals make all the difference. And while the track does continue to make some very pretty musical moves. I feel like the essence of the song, the real appeal of it, is in just how hypnotic the groove and pacing are, at least for the first half.

As we transition into part two, the whole thing kind of turns into this psych odyssey where the layers of instrumentation really kind of fragment off into this harmonious cloud of sound. Eventually a beat does come back into the mix and gives the whole thing a little bit of structure. There are some closing refrains from Kelsey that tie it all up very nicely too, but the song still remains pretty abstract and open, enveloping in a truly beautiful way. But still, I do think this song might ward off listeners who aren't willing to give this album the patience it deserves. The following tracks on the record are much easier lifts by comparison, for sure.

But these tracks are all very much built on very dark, elegant instrumentation, slow, graceful movements. Like "Portrait of a Lady on Fire" that I mentioned earlier, which does hang more in that art-pop, baroque-pop blend, with some super plucky string layers and groaning cello harmonies, and an amazing progression too. The one thing that I felt like I wasn't too crazy about on this track was the ending, which was a little abrupt and sort of unceremonious, especially for all the beautiful layers and tension building up to that point.

Following this, we have some really nice contrasts in the record, like the acoustic ballad "What Can I Do," which has a stillness to it that I love a lot. Also, this strange kind of pitter-patter percussion that sounds almost like a chair underneath Kelsey as they're performing creaking, but it kind of ends up being employed in a way that's actually rhythmic. Kinda nuts, and a moment I'm enamored with for sure. And then after this we have "Running to Pain," which is the album's first real shot at a big pop moment. It starts almost like a super dramatic Lorde anthem, something from her first two records, but once these bustling '80s-flavored beats come in and Kelsey really starts rocking with this falsetto, it's giving almost Prince.

Things of course slow down again on the track "Comfort," which is not a track where, frankly, I'm in love with the songwriting per se, as the verses kinda tend to meander, and I think, for the most part, exist merely as these slow tension-builders so that we can be brought into a lull for these eventual amazing crescendos with soaring lead vocals on top of them to hit and just absolutely stun. It's a goosebumps moment, even if I do think the structure could have been, like, pared down a little.

And then the second half of this LP starts with "American Sonnet." Tracks like this are the reason the word "sultry" exists. It's this surreal, loungy, film noir-type moment, at least at the kickoff. Kelsey's vocals once again take on a Björk-esque vibe, but not in a way that's obvious. More like first album era, when a lot of her vocals had a very clear jazz influence to them, with bits of unsettling rumbling percussion going on in the background, icy, distant string embellishments, and just some strange sound effects too.

It's another moment on this record that is truly an odyssey, that is slowly overtaken by what feels like this quiet, filtered techno beat that transitions seamlessly into the following "852," which in a lot of ways does feel like an extension and goes even further out into the weeds of abstract vibes and songwriting, with soft bass loops and scattered piano pieces. It's beautiful while it's on, though I do wish it reached a higher peak moment, I'll say that.

"Only the Lonely," though, is another highlight on here for me. It kicks off like a theatrical vocal jazz number, with some great string work in the background, but it sort of subtly inches toward employing these breakbeats into the mix. And then somehow gets even better, with Kelsey having one of the most powerful vocal performances on the entire project.

As far as the final moments on this record are concerned, we have "Better Than That" featuring Sampha, which I mentioned earlier. It's kind of a loose piano number that I enjoy a lot in its beginning stages because Kelsey and Sampha are able to kind of bounce off of each other vocally, in a really organic and improvisational way. But as the song builds up, you get all of these different, weird, almost unpredictable instrumental touches that never quite coalesce in a way that feels all that focused.

We do get a super strong closing track on this album, though. In so many ways, it kind of feels like an '80s power ballad with roaring guitars on the chorus. Some bold opening lines, too. "Ooh, I like you more when I'm wasted 'cause I can remember you better / Knew you wouldn't last once I met you, so I had to let you go." It's crazy how much Kelsey kind of avoids doing anything on this album that is too straightforward much of the time, but when they actually do lean into something that is just catchier and snappier, it hits like a goddamn freight train emotionally and instrumentally. But yeah, really impressive album from Kelsey.

I mean, obviously it took a while to get to this point, but it's a record that I honestly think was really worth the wait, as the vocal performances are more gorgeous and honestly, I would say, tear-inducing at some points. The string work is incredible. The inclusion of Jack Antonoff clearly has added a bit of an X factor to the sound of this thing too. Sure, there are some tracks where I think the structuring and songwriting could have been a little bit more focused and straightforward.

But as these songs stand, even in their very abstract state much of the time, Kelsey still manages to put on a really beautiful show, emotionally and instrumentally, which is why I'm feeling a light 8 on this album.

Anthony Fantano. Kelsey Lu. Forever.