Kevin Devine – We Are Who We’ve Always Been

Kevin Devine has become so prolific that if you were to miss a year or two you may miss out on just as many records.  From his lengthy devinyl split series, to a stint of double albums  and singles, the Brooklyn based musician is a collaborative and enthusiastic member of the indie/emo scene.  A year after last year’s well received album, Instigator, he is revisiting the eleven song track-listing with long-term collaborator Chris Braccoas in an acoustic setting under the title We Are Who We’ve Always Been.  

The execution begs comparison to HOPE,  Manchester Orchestra’s acoustic comparison to COPE, with the original taking a full band, guitar heavy approach, and the latter offering up a mellow introspective execution.  Devine’s acoustic self is a wispy and faint personae, and while he is known for his soft spoken nature, it’s accentuated considerably for We Are Who We’ve Always Been.  Much like Toh Kay’s unreleased (but streamable on YouTube) companion acoustic album to Streetlight Manifesto, The Hand That Thieves, the alternative take conjures an additional layer of emotion and vulnerability to each track.  

Those already familiar with Instigator may recognize that several of the songs on the original were already quite minimalist in nature, and question whether the adjustments are worth revisiting.  “Freddie Gray Blues (ft. Swivs)” serve as a revealing case study as to the nuanced adjustments that separate the new takes from the originals.  Where the original focused on amplified acoustic picking, Devine re-envisions the steady opening notes with a pure piano rendition and slowly layered self harmonies.  In this context, the song’s raw social commentary about white privilege and luxury of opportunity for the white middle class feels less hopeful, but more remorseful and empathetic than the original.  Directly comparing songs like “No History” and “Guard Your Gates” across the disc and you begin to get the sense that these songs represent a shadow or fading memory of the originals.  Like a mental vision or projection of a past event, the edges feel fuzzy, but the central memory remains in tact, and the emotional association vivid.

All in all We Are Who We’ve Always Been serves as a welcome companion album to Instigator.  Considering the acoustic tone to parts of Instigator, We Are Who We’ve Always Been is a curious choice to have an acoustic counterpart.  But Kevin Devine’s thoughtful reworking through piano notes and and even female guest vocals from The Mynabirds on “I Was Alive Back Then” builds a compelling case for the project.  We Are Who We’ve Always Been is a fine quiet evening album that fans shouldn’t have any problem appreciating how well it would fit a warm cup of cocoa and pair noise cancelling headphones on a quiet evening in.