From the opening notes of Lily Kelso’s latest project, I can’t help but draw comparisons to the likes of Julien Baker. Now, no artist wants to be derivative, but there’s something to be said for giving context of the style and emotional breadth of a larger artist when the artist in question has under 200 monthly Spotify listeners. Maybe, just maybe, this review will help with that. Kelso’s voice has the same timid uncertainty that makes Baker so noteworthy. Kelso’s instrumentation is a bit more concrete nonetheless, leaning toward a more-indie-than-emo texture. Simply put, it’s a sound that’s more familiar and dynamic than the streaming counts might lead you to believe.

Kelso, a producer herself, has fashioned these songs with care. Her voice dances over shifting arrangements lyric-heavy songs which toy with elements of everything from folk to 2000s pop. “Chameleon Home” seems to be named quite appropriately, oscillating between a Michelle Branch-flavored chorus and verses which pull from modern bedroom lofi. Kelso poetically describes the feeling of trying to find home through a powerful metaphor: what ultimate needs to change, the place or the person? Her imagery is vivid, and lines like “fractals in a bright collage” really seal the deal.

The album opens with “Cartoon Whirlwind”, a track which sees an overdriven guitar intro give way to gentler, more post-rock inspired textures as Kelso ruminates on the almost comical chaos of life. The song is laden with themes of personal failure, falling back into cyclical habits, and trying to navigate relational pains. It’s a great way to open the record by giving listeners a great sense of what to expect from Kelso’s songwriting.

“What’s Been Lost” follows, and it sees Kelso lean more heavily into her Baker-esque vocal lines. There are some cool production nuances here, like distorted background vocals. However, the track ends about as quickly as it begins, transitioning into the aptly-titled “Interlude”. Funnily enough, this interlude is actually longer than its predecessor, and its early album placement paired with its strange conglomeration of croaking frogs, clipped singing, and undiscernible spoken word seems to disrupt the momentum of the album’s first two tracks. It doesn’t feel like what comes after the interlude is thematically disjointed with what came before it.

Thankfully, the other side of “Interlude” is as strong as what came before it. “Traffic Halos” showcases elements of folk while also showcasing some of the best drumming on the album. “Parallel Lines” opts for a more dreamy, surf-rock approach. “Staircases” lays a singer-songwriter foundation on a bed of ambient drone.

The record’s title track is certainly a highlight. It’s one of the best rounded songs on the album, showing the tightest full-band instrumentation. While other tracks hold back or omit certain instruments, Kelso shows just how powerful the combo of drums and bass are to her songs. The chorus is lush and enchanting. I can’t help but wish more of the album was as full as this particular song, but Kelso admittedly still wields simplicity with strength as well.

“Snowbird II” and “Silver Dollar Cowboy” complete the album-closing trilogy of standout tracks. “I’m a blank canvas,” Kelso croons, before commenting on how she’s “titanium prosthesis”. What a line. And she delivers it with such clear pain and conviction. The closing track is much like “Maps” in its fullness, though it’s perhaps the most upbeat track on the album. Kelso shows just a hint of alt-country influence here, and it’s a nice surprise. Her stylistic prowess is broad, and it’s clear Kelso can’t be easily defined by a single genre.

I’m not particularly sure what’s going on with this album – I’ve had some artists accidentally drop releases early. There doesn’t seem to be much word on social media, it’s not on Kelso’s Bandcamp page, and it’s not highlighted on her website. Maybe there’s some background here I’m missing, or maybe I’m not supposed to even have heard it yet. But whatever the case, it’s live (for now) and I’d highly encourage checking it out. It’s not a perfect record, but Kelso showcases a clear and consistent foundation for captivating songwriting and I’m confident the rest of the gaps will be filled in over time. Fans of Julien Baker, Phoebe Bridgers, MJ Lenderman, and related artists will definitely find themselves on familiar group with Maps.