An identity that reveals itself without imposing itself
The artistic direction of DLB II perfectly illustrates this approach. Through the album cover—a visual metaphor of an iceberg whose submerged portion reveals a rough diamond—Kelzk conveys a powerful idea: that of an inner journey long hidden, now ready to emerge. This image echoes the impression she gives in interviews. A “quiet strength.” She doesn’t seek to impose her identity with fanfare. She lets it take root gradually. And it is precisely this restraint that reinforces her credibility.
A diversity of sounds that creates a sense of cohesion
Musically, DLB II stands out for its rich blend of influences—Afro R&B, bouyon, trap, and rap, with forays into Afrohouse sounds—that flow seamlessly into one another. The album is instantly accessible. Despite the diversity of styles, the tracks flow naturally, without any breaks. It’s a project that works just as well for focused listening as it does for background music—in the car, on the go, or during everyday moments. Right from the introduction with “Aucun Traka,” Kelzk sets the tone. The opening is laid-back, almost detached, in a vibe that at times recalls Missy Elliott’s world, with that nonchalant yet controlled edge. A confidence that immediately establishes his presence.
Songs that embody her artistic range
Among the standout tracks, “Trop parlé,” featuring Shah Frank, stands out as one of the project’s highlights. Driven by an Afro-R&B aesthetic, the track captivates with its balance: smooth, danceable, with a fluid energy and a masterful performance. Kelzk’s vocals are particularly masterful here—calm yet powerful, carried by a restrained emotion. The choral treatment of certain passages adds extra depth, with resonances that evoke African influences in a modern approach. Taking a more energetic direction, “Tap” blends bouyon and trap into a direct and effective formula. The track rests on a punchy rhythm and immediate energy, designed for movement. “Mona Lisa” offers a more laid-back vibe, rooted in Afrohouse sounds. The track sets a nocturnal, almost introspective atmosphere, with ethereal textures and a hypnotic progression. Finally, “Rap prolifique,” featuring Raccoon, brings the project back to a more rap-oriented foundation. The solid instrumental and the complementary flows allow both artists to deliver an effective and well-structured track.
A collaborative and polished production
The project draws on several collaborations that enrich its various facets, notably with Shah Frank, Raccoon, Ya Cetidon, MADRiiNA, and David Campana. On the production side, names like Majosty, Fistoon, K.Status, and Agoldencoast help build a cohesive sound despite the diversity of influences. A large portion of the tracks was conceived organically, with writing and production developed simultaneously, reinforcing the fluidity of the whole.
With DLB II, Kelzk has clearly reached a new milestone. The project confirms her ability to build a cohesive world, navigate between multiple styles, and assert her identity without overdoing it. Through this album and this interview, one thing becomes clear: Kelzk is moving forward with confidence, without rushing, driven by a solid vision. If this trajectory continues, she could quickly establish herself as one of the rising stars of rap and urban music in Montreal. An artist who doesn’t have to raise her voice to be heard—but who, little by little, is taking her rightful place.
