Much like Sampha, Kelela is pretty much already a worldwide known star before dropping her first studio album. Not only has she released some cracking mix-tapes in the past, but she’s featured on some of the biggest albums of the last few years including the Gorillaz comeback album (‘Submission’), Solange (‘Scales’) and Danny Brown (‘From the Ground’). Her debut album, Take Me Apart, is a confident, sultry pop album that sonically explores the life and death of relationships.

‘Frontline’, which premiered on HBO show Insecure, is a chilled R’n’B track. Produced by Al Shux and Jam City, it’s a silky and lusty start to the album that features a good platform for world building. She sings: “Cry and talk about it baby but it ain’t no use/I ain’t gonna sit here with your blues”, which is essentially her manifesto for this album. She is constantly positive, despite the themes of her songs. Kelela told Fader that ‘Frontline’ is about "Leaving behind someone who was holding her back” and she's not looking to apologise. It's not a cold track, though, but one about how certain significant decisions can be made easier with a strong knowledge of self-worth. For an album that is consistently about relationships, Kelela manages to keep the album sanguine and genial throughout and it’s testament to her alluring voice and the brilliant production.

At times Take Me Apart is like being at a party. The title track and ‘Enough’ go together seamlessly which gives Take Me Apart a carnival, lively atmosphere early on in the album. ‘Enough’ is probably the strongest, most exuberant song on the record which mixes Kelela’s now trademark cocktail of alternative R’n’B, electronica and dance pop with sublime consequences.

Throughout the album, Kelela drops gloomy, two minute length piano-led ballads to break up the rhythm. The likes of ‘Jupiter’ (which was co-written by The xx’s Romy), ‘S.O.S.’ and penultimate song, ‘Bluff’ give the album more depth, further exploring vulnerability, identity and honesty. They act as interludes to cleverly keep the tempo down before a big explosive song that makes even more of a statement. ‘Bluff’ in particular is outstanding. At just over a minute, it’s a master class in storytelling and melody.

Lead single ‘LMK’ is a powerful statement. Essentially a call to arms for women, it’s a cry for action of independence. On the chorus she croons: “It ain't that deep by the way/No one's tryna settle down/All you gotta do is let me know”, it’s a space-pop anthem which is probably her finest, most accessible song to date.

The final third to the album, however, is a bit wayward at times. Third single ‘Blue Light’ sees Kelela exploring dubstep with producer Dubbel Dutch which seems a little out of place, while ‘Onanon’ is a more of a throwaway pop song that is beneath her. Hitherto, ‘Altadena’ is an exceptional closer that is more in line with her contemporary Solange than any dance act. It’s almost a gospel track and, once again, shows another side to Kelela as an artist. As a platform to showcase her talents, Take Me Apart is a roaring success.

Overall, Kelela has produced an exemplary, consistent and hook-laden debut album that, despite its heavy themes about love and relationships, manages to stay positive and optimistic about the next opportunity for love. Take Me Apart is a cleverly fragmented amalgamation of various genres, and Kelela and her cohorts have created a loving album without straying too far into parody. Ultimately, its originality is when Take Me Apart is at its zenith.

Liam McMillen

Website: kelela.co
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