The catalog of American composer Keith Kenniff spans over a dozen releases as Helios and nearly as many as Goldmund since 2004. Kenniff’s music deals with subtlety, and the variance between these projects loosely follows a few signifiers; Goldmund favours post-classical piano, Mint Julep, a project with his partner Hollie, is shoegaze pop, while the lines around his Helios project are intentionally hazier. Within the alias, Kenniff glides between minimal ambient electronics and more robust instrumentation, all run through his mini-cassette recorder for a distinct wobble. 2018’s Veriditas, his first Helios LP on Ghostly International, found Kenniff shaping verdant landscapes of harmonic sound, focusing on texture over structure. He followed it up in 2020 with Domicile, an even quieter synth-toned ode to the indoors. Now he returns to the electro-acoustic movement that marked much of his earlier output; the music of Espera is lush, livelier, and perhaps the most singular in his run. Titles are telling in Kenniff’s work, and Espera, a Spanish word meaning “wait,” speaks to the producer’s patient and cinematic craft. The record balances engagement and contemplation with a billowing accessible lightness, and reveals Helios at a compelling intersection, composing songs as vivid and three-dimensional as they are characteristically modernist and understated.