Henry Behave – ‘The Perfect Answer’ EP

Painted by Henry Eveleth

Newly released debut EP The Perfect Answer showcases Brooklyn-based Henry Behave‘s meticulous and expansive artistic vision, blending art rock, psychedelia, and experimental electronic textures with seamless cohesion. Entirely written, performed, and produced in his home studio, the release reflects his layered sound design, inventive arrangements, and genre-defying approach — enamoring across both experimental cuts like “Cream Cheese” and more immediate stirrers like “The Perfect Answer.”

“0123” commences the album with a spacey, intriguing synth pulsation — gradually complemented by whooshing effects and a counteracting bass-ready lushness. Elegant infusions of piano continue the engrossing soundscape, playing like a climactic table-setter to the ensuing EP title track. There, clanking rhythmic precision and serene guitar flourishes move into an introspective vocal ethereality. The title-bearing refrains are warming and hypnotic, soothing in their more elongated vocal tones into the track’s caressing mid-point. Weaving harmonious vocal elements with atmospheric textures, its production reminds fondly of Sun City Girls’ works.

“Sunday 10,000” continues the EP’s knack for heady soundscapes, infusing questioning vocal haunts with gentle acoustic breezes and twangy guitar adornments. “Cream Cheese” then achieves a striking balance between dreamy guitar tones, nonchalant vocals, and colorful synth wavering, delectably psychedelic in its overall unfolding. EP finale “Long Camera Lens” offers a wholly satiating conclusion, propelled by gorgeous piano work, bird-chirping effects, and bursting synth incorporations. The Perfect Answer is a lovely, artfully melodic success of an EP from Henry Behave.

“The Perfect Answer” and other tracks featured this month can be streamed on the updating Obscure Sound’s ‘Emerging Singles’ Spotify playlist.

We discovered this release via MusoSoup.

Mike Mineo

I'm the founder/editor of Obscure Sound, which was formed in 2006. Previously, I wrote for PopMatters and Stylus Magazine.

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