Keaton Henson is perhaps best known for his heart-breaking Indie Folk past records, works that used his vocal talent to put across ideas and emotions and tell tales of love lost. So it’s interesting then that in the surprise arrival of self-released Romantic Works, Henson has decided to forgo his usual style and craft an album capable of standing up on its own emotionally whilst leaving the lyrical content at the wayside. Refreshing as it is, and despite its relatively conventional and not-wholly-unique performance, it’s still perhaps one of the most touching records of the year, and at only 30 minutes long, manages to say a great deal in a relatively short space of time.
Forged largely from Henson’s piano and Ren Ford’s cello, it breaks open to the janglings and tunings of preparatory opener “Preface”, a warm-up session that buckles down its drone lines and chaotic instrumentation rapidly to bring the rest of the album with its closing. But it’s hard to get a lock on proceedings following its simplicity, the album itself moving from one romantic fugue or encounter to the next; “Elevator Song” is a neatly gradual introduction to the reality of the record’s sonic style, marrying a duotone piano riff to the rising stringed drones of the cello as they lift each other out of the mix in a growing wave, slow and measured but breaking free of the confines of its early simplicity. It’s sparseness and desire for expansion come around again in the locked in “Petrichor” a little later on; unquestionably my favourite track of the album it sits wistfully in its chair by the window, watching and listening to the gentle rainfall outside and spinning out delicate pulses of aged and tired, flat piano. It’s got a quiet and subdued wistfulness, mesmerised by the confining inclement weather outside, painfully aware of its loneliness.
This mildly melancholic, solitary vibe is continued like a vein through a few other pieces as well; aptly titled penultimate piece “Nearly Curtains” is a reflective and introspective little number that’s driven by the haunting and faded cries and chatter of a distant child’s voice, a desire to return to those naive, innocent and simple times expressed through sad stringed drones and thick layers of ancient, suppressive reverb. “Josella” too has a streak of melancholia running through its initial sequences, with especially pained cello bringing in a rather sharp air amidst thick and wailing waves of distal reverb, mournful and crushed. It pulls through slightly in its latter half, however, as it pushes it all away with a mild textural and temporal crescendo that serves to just take the edge of things a little bit, the piano softening things just slightly.
The remaining works could be argued to be vaguely optimistic, or at the very least hopeful. The gorgeous “Field” is perhaps the most expansive piece as it marries gorgeously delicate currents of birdsong against quiet and contemplative cello, creating a bigger but not bolder atmosphere ahead of itself as it drinks in the view and rests in peaceful and quiet reflection rather contentedly. Okay, it still retains some level of loneliness but there’s a certain distracting force at work that takes our mind off things for a brief while. The same is true of predecessor “Healah Dancing” as it carves a deliciously solitary but rather cathartic slow-dance piece out of measured cello and melancholic piano lines, the soundstage padded by distant clatterings and tinklings as we populate the cathartic daydream with more fantasy creations, crowned by a wave of splendid but rather morose crescendo as reality rushes back.
Perhaps most importantly is the piano dominated beauty “Earnestly Yours”, a precise and deliberately crafted gem that carves out the measured pen strokes and the words behind the lines through the expressive tinkling alone. Like many of the tracks, it has the same idiosyncratic burst of energy towards its closing moments, gaining a brief confidence and momentum in an emotional burst that’s just heart-breaking to listen to, a wave of suppressed love and tenderness that we’re being forced to leave behind for lack of reciprocation. And it’s tempting to think that this record focuses on a single individual, an ex-partner that is pushing Henson through the degrees of separation, but the reality is this is a smeared and averaged work that highlights the sad truth of it; loss and heart-break is wrenching no matter who or what the circumstances, it just becomes a case of same shit, different story, but there’s still happiness to be found within one’s self that we must hold on to no matter what.