After a lengthy interval of seven years, Kelsey Lu, the cello-playing singer-songwriter, has unveiled her sophomore album, titled “So Help Me God,” following her debut, “Blood.” Lu has indicated that this extended hiatus was a deliberate act of defiance against an industry that prioritizes a relentless output of new music. They emphasized the importance of “tuning into my intuition, trusting myself, and building a supportive team.”
The time away from album creation may have been influenced by Lu’s desire to establish a unique artistic direction after their cover of 10cc’s “I’m Not in Love,” featured in the HBO series “Euphoria,” achieved significant success. Additionally, Lu has engaged in a wide range of creative pursuits, scoring two films—the BAFTA-winning “Earth Mama” and the Netflix documentary “Daughters.” Collaborations with artists such as Beverly Glenn-Copeland, Yves Tumor, Mykki Blanco, Jamie xx, Boys Noize, and visual artist Kevin Beasley have also marked their career. Furthermore, they contributed a rendition of “Manchild” for a Neneh Cherry tribute and have been photographed by renowned artist Nan Goldin for a Gucci campaign. Lu’s performance art piece at the Metropolitan Museum of Art in New York, along with a memorable stage appearance alongside Debbie Harry while dressed as Kermit the Frog, showcases their diverse artistic endeavors.
Despite any perception of being a jack-of-all-trades, Kelsey Lu has framed these experiences as integral components of a comprehensive artistic practice rather than a fragmented career. “So Help Me God” indicates that their time away from producing music has refined their creative focus.
This new album presents a more unified sound that is less dominated by Lu’s influences compared to “Blood,” which, while excellent, often echoed the style of fellow avant-pop cellist Arthur Russell. The tracks unfold at a leisurely pace reminiscent of a warm summer afternoon; even the drum and bass rhythm in “Only the Lonely” feels relaxed and meandering, yet the album’s 50-minute duration passes swiftly.
The array of featured artists on the album mirrors the eclectic nature of Lu’s recent activities. Collaborators include renowned pop producer Jack Antonoff, jazz saxophonist Kamasi Washington, British singer-songwriter Sampha, and former Sonic Youth bassist Kim Gordon. However, their contributions are seamlessly integrated rather than feeling out of place or overly ostentatious. For instance, “Comfort” and “Running to Pain,” both enhanced by Antonoff’s touch, showcase melodies that shine through abstract arrangements, while songs without his involvement maintain equally strong melodic qualities. Gordon’s presence is particularly subtle, as her guitar work in the opener “Reaper” adds distant layers of sound, complementing Washington’s saxophone and Lu’s vocals in a captivating auditory blend.
The album embraces its eccentricities with grace, consistently taking unexpected turns while maintaining a smooth flow. Only one track, “Better Than That,” lacks a coherent structure and feels overly self-aware in its oddness. In contrast, the remaining tracks exude an effortless quality. The production is understated, as exemplified by the muffled, train-like rumble of the rhythm track in “852,” while the melodies linger in the listener’s mind. Lu’s voice is rich and powerful; the lyrics explore the complexities of a relationship’s dissolution in somewhat abstract terms—such as “like weeds in a field we yearn a connection / but deafening divide leaves me unprotected”—yet her delivery conveys a profound emotional weight.
This album unmistakably reflects Lu’s distinctive vision and methodology. While it may be disappointing that their approach results in infrequent album releases, “So Help Me God” leaves listeners eager for more, yet uncertain of when to expect it. If it indeed takes another seven years for Kelsey Lu to produce a follow-up, it will be a wait worth undertaking, as “So Help Me God” is undoubtedly a significant work.
In another release, “Fire” by Lee ‘Scratch’ Perry and Mouse on Mars combines recordings of reggae icon Perry’s improvisations with innovative collaging by the Berlin electronic duo. The result is an unexpected yet compelling fusion that defies conventional expectations.
