Presence has always been a sticking point for Keaton Henson. As documented so beautifully in much of his output his struggles at the hands of anxiety means he cuts a reclusive figure, mostly shunning self-promotion and seldom performing live.
That was until January when he emerged onto Instagram, a man metamorphosised, to announce new material was forthcoming. ‘It’s a bit different I hope that’s ok’ was the message, delivered Dylan style through a series of handwritten cardboard signs alongside a promise to be more ‘digitally present’.
The new material in question is House Party, a 13 track album loosely written from the perspective of an alternative fame-hungry Keaton, complete with a fetching pastel pink suit (and clutching his own decapitated head because why not?) and full backing band.
It is the latter that truly allows true exploration into previously unchartered indie rock territory within the album. Album opener ‘I’m Not There’ gives an immediate example of what’s to come with upbeat jangly guitar riffs and catchy melody.
Songs such as this are threaded throughout the album. ‘The Meeting Place’, ‘’Envy’ and the piano driven ‘Stay’ on face value very much fall into the category of radio friendly whilst the hook filled ‘Parking Lot’ offers possibly the catchiest chorus in all of Henson’s repertoire.
It’s not just the uplift in tempo that adds charm to House Party. ‘Late To You’, written for his Wife (who also provides backing vocals) oozes the trademark vulnerability that has been a staple in much of Keaton’s work so far. Elsewhere, ‘Two Bad Teeth’, a delightful gem of a love song laced with raw and honest self-depreciation, is destined to be played at the Wedding of many an introvert in the years to come.
That said it’s not all sunshine and rainbows (in relative terms anyway), lyrically the album remains very much same old Keaton. This is by no means a bad thing as the quality of his writing and ability to articulate his demons is his biggest strength, and this gives House Party a depth that most songwriters struggle to obtain.
Even musically there’s still plenty for staunch Keaton Henson traditionalists to enjoy, and as would be expected the happiness is kept strictly in check. Second track ‘Rain In My Favourite House’ with it’s dark and delicate guitar strumming is on hand to bring you back down after the upbeat opener, whilst ‘The Mine’ ranks among the darkest of his offerings. Sparce, brooding and tragic, it offers a bleak exploration into the pitfalls of songwriting before ending in a muted crescendo.
Perhaps the album is best encapsulated by closing track ‘Hide Those Feelings’. As Keaton sings ‘Let’s hide those feelings, let’s get concealing’ you can’t help but feel that in the concealment the shackles have been lifted and that he is experiencing a sense of enjoyment from his art. Something that has seldom come across in the glimpses he has allowed his audience to see up to now. House Party is more of a steady lowering into the upbeat rather than a dive in, however hopefully it has given Keaton the confidence to paddle out a bit further in future offerings.
Words by Toby Lee
Picky Bastards 
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