It’s a process that’s, quite understandably, never immediate. This is particularly true when everyone experienced the lockdown in 2020; the anguish that stacks upon individuals already dealing with their traumas has only extended their time to fully meditate on everything. The creatives too have it just as bad, as they have to face the reality of what it means to create art despite rough times, and consider how important it is to cling to their art form as a way to heal and grow.
Since their shimmering 2019 debut album, Blood, Kelsey Lu took their time to meditate on past wounds while focusing on film soundtracks, music collaborations, and other artistic contributions. This work streak not only keeps them rejuvenated, but also prepares them to return to their solo music.
Seven years later, and through their sophomore output, So Help Me God, they’re tying down an unresolved past. Dealing with a relationship that was once important to them, but the pain they felt motivates them to face it head-on. Such a resolve renders a song like “Portrait Of A Lady On Fire” feel heartwrenching; the layered string swells and guitar plucks complement Lu’s yearning to burst asunder. It’s a moment of hope that was once alive, but is now gone.
Across the arc of confronting Lu’s past that constantly tries to sever from the immense heartache, their sonic palette goes for the jugular, balancing immediate pop hooks and vast baroque swell. It’s an ambitious leg up that’s accomplished with Lu playing around Jack Antonoff’s production alongside various collaborators. “Better Than That” is a striking example. Sampha’s overdubs and Lu’s lilting coos and stutters swirl around gentle piano chords, just before the string accents effectively transition to the 808s sliding into the back half. It’s calmingly playful in a charming way.
As much as Lu’s vocal and compositional prowess has sharpened, their attempts for classical grandeur don’t always land. Texturally well-rounded, but melodically unsure. The extensive shifts of “Reaper” and the constant brass warbling on “American Sonnet” leave their long runtimes feeling distracting and stuffy, only smothering the core melodies. Speaking of smothered, Lu’s evocative performance across the crescendos on “Comfort” is cut short, as their voice fades out at the very end.
On the flipside, the percussive-driven songs deliver stronger punches. From the well-placed buzzy grooves of “Running From Pain”, the breakbeats complementing the layers of pianos, cello, and guitar on “Only The Lonely”, to the explosive rock charge of “Cutting Off The Head Of A Ghost”, they all supplement the enormous emotive release that Lu brings to the table.
So Help Me God is a triumphant return whose sonic ambitions are split in two ways: classical swells don’t uplift the melodies at their finest, but the percussive focus makes Lu’s emotional arc evocative. It’s lopsided as a result, but still successfully delivers impactful moments along the way. With this, Kelsey Lu doesn’t need a God to help them, especially when they can craft a fervent reckoning such as this
