Not since the likes of Elliott Smith and Jeff Mangum has a musician had such an immediate and powerful effect on the way I think about, and more importantly, feel about music. Keaton Henson is still a relatively undiscovered musical talent that is slowly garnering the acclaim that he deserves. My initial introduction was to his self-released music video for “Charon,” which features a highly depressed and suicidal puppet that eventually ends it all. That video led me to Henson’s self-released version of Dear …, which I immediately purchased from iTunes. From that point, I’ve become completely engaged in everything he does.

Keaton has been much more known for his skills as an illustrator and visual artist with works frequently exhibited and used for various ventures. He originally recorded the songs from Dear … in his bedroom with no intention for anyone beyond a close friend to hear them. With some convincing, a few songs were shared online, and a buzz began to grow. Henson decided to self-release the record and instantly sold 4,000 copies. His accompanying videos received 1000s of hits online and were featured on various music blogs. Henson gained most of his notoriety after UK DJs began playing “You Don’t Know How Lucky You Are” in regular rotation. Eventually, record labels began showing interest, and Dear … was re-released properly on Oak Ten Records last month.

Dear … is an instant and sorrowful masterpiece that may not be suitable for repeated listens. It’s an intensely depressing record that features minimalist instrumentation on much of the track list. Most of the songs feature Henson’s quiet, whispery, and nearly-cracking voice along with an acoustic guitar. Apparently, Henson’s apartment is located in the flight path of Heathrow Airport. This explains the planes that can be heard before and after some of the tracks, especially during the last ten seconds of “Charon.” The first standout track is “You Don’t Know How Lucky You Are,” one of our favorite songs of 2011. Henson’s voice is particularly fragile as he recites lyrics like “Does he know not to talk about your dad? Does he know when you’re sad? You don’t like to be touched, let alone kissed.”

Many speculate that Dear … is a breakup album, but not much is known about the source of Henson’s deep sadness or loss. While there is no filler here, “Small Hands” and “Flesh and Bone” also standout. The latter may be the saddest track on the album. Keaton’s voice sounds like he’s on the verge of a breakdown as he sings the chorus, “My body’s weak, feel my lungs giving up on me. I’m worried it might just be something my soul needs.” “Nests” is another mesmerizing track with a more uplifting melody. This also may be the first song with percussion on the record (if you count Henson’s tapping on his cupboard). “Not That You’d Even Notice” may be my favorite track on the album. The music is more fully-realized and orchestral, with bells, hand claps and vocal accompaniments, and shows the first glimpse of hope on the entire album.

Dear … is book-ended with “Party Song,” which is anything but. Henson’s ex-girlfriend has apparently moved on, and he’s not able to get over it. “I’m sorry, can’t make your party. I’ll be busy burning. And I’m afraid I’d kill your lover while your back was turned.” It’s a sad ending to a heartbreaking record, “And I see pictures now of the two of you and it makes me sick. Damn, I love you.” Dear … is my favorite album of 2012, and I could not recommend it more highly.

As good as Dear … is, there are b-sides from singles that are as strong as anything from the album. “Strawbear” and “f.r.i.e.n.d.s.” are two such songs that show Henson’s limitless talent as a songwriter. As one might guess, Henson is somewhat of a recluse who shuns publicity and refuses to play live shows to avoid panic attacks (he tried playing live once but was unable to finish). However, he has been engaging his fans with recorded live performances. Most recently, Henson streamed a pair of short live performances he called “Forts.”

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