Since the loss of his brother Zac in 2018, Lachlan Denton has filled the crevices of his pain with his A Brother album in 2019, which heaved emotionality and chartered the waters of the immediate post-loss despair as well as moving on with life as the human spirit inevitably does with the glorious indie-pop sounds of his other acts such as Partner Look, Ocean Party  and Pop Filter.

However, this release shows that his solo work is likely to be the vehicle to express his true self, and as such, Furnishings follows up on the debut desolation to detail where he and indeed many of us will be within the everlasting grieving process several years after the loss.

As such, the album drifts through his omnipresent beautiful melancholy, hanging slight indie-pop refrains in the atmosphere that nibble at the parameters of indie-folk and understated jangly indie-pop without ever really moving within the same desolate A Brother circles. It’s beautifully subdued as the chat of a family remembering a loved one usually is.

For essentially, as anyone who has lost a loved one will know, all-consuming grief turns to fond remembrances as seen in tracks such as Bookshelf, Braeside, Workshop, and a self-reflection that is seen in Zac, Lucas, Mum, and Dad, where Denton says the things to his loved ones that he ‘needs’ to say, spurred by five years of painful knowledge that life is precious and we can all be touched by the spectre of ‘it’s too late now’.

Always beautiful, always only a brief scratch past the superficial to find true meaning, Dentons solo work could end up being the ultimate guide to the ‘acceptance’ stage of grief and offers a beguiling, if tempered sense of optimism to the pain that has gone before.

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