There’s a point at which familiarity breeds contempt, and then there’s the infinite patience I have for a good job done well, even if the product doesn’t necessarily break any new ground in the process. In art, as in carpentry, sometimes it can be enough to create something that just looks nice – and which doesn’t claim to push any aesthetic boundaries while doing so.

Henry Green’s breakthrough came with the success of his crystalline cover of MGMT’s 'Electric Feel'. As is so common these days (and, you know; always) taking on a beloved standard gained him the kind of interest that he will now have to maintain on the strength of his own output. His debut album takes a broad leap away from the stripped down nature of that track, seeking to re-introduce him as a fully-formed composer in his own right.

And in terms of the artistry and pure good taste of the arrangements here, he succeeds. ‘Shift’ is very well accoutred. Green joins a motley crew of young producers currently turning out smooth, brittle electro soul that soundtracks bars and cafes across the Western world. In its subtler moments ('Aiir', 'Without You') his voice wilts upon a bed of washed and sliced beats as fresh and welcoming as a well-dressed salad. The artistry in pulling together so many sounds, and keeping the song structures engaging and coherent is considerable. On 'Contra', if not on every track, he combines this beauty with a strong melody.

Listeners are going to feel very comfortable within ‘Shift’. This is partly down to the producer’s craftsmanship; as I’ve intimated, every angle is planed and rubbed down to a glossy matte; it’s also because Henry Green wears his influences proudly on that smooth audio surface. Often times, his voice veers incredibly close to becoming a pastiche of Mike Milosh’s androgynous tones on Another Night and Stay Here, even going so far as to make the song titles, melodies and lyrics practically interchangeable with those of his forebears.

For fans of Rhye (and I place myself firmly in that category) that isn’t a big deal, if the pastiche is successful. For the most part, it is. Green has enough sense to break up the vocals with sweeping ambient synths that recall the songs-between-songs that Sufjan Stevens uses to glue his mostly acoustic tracks together. Only on the two-brief ‘We’ does Green carve out a strong production niche of his own – and it’s the best thing on the album. Other moments, like the closer ‘Something’ seem to run out of ideas and just stop.

I’m not sure Henry Green will be able to repeat the trick he’s pulled off on Shift without pouring a few spicier ingredients into his blend of neo-soul. The record is beautifully put together and a pleasure to listen to. I’m not convinced it will keep me coming back for more. We'll see where he goes.