Singer/songwriter Kevin Devine, though underappreciated, stands as one of the strongest lyricists in the indie scene, and his latest release is no exception to this fact. The Brooklyn boy’s sixth LP, Between the Concrete and Clouds, is a testament to his uncanny ability to produce thoughtful songs that come together to form a cohesive record.
Clouds is the logical progression from 2009’s Brothers Blood, which featured less of the folky, acoustic tunes that Devine’s fans have come to know and love and more of a louder, electric sound.
On Clouds, his first full-band record, he’s abandoned his acoustic guitar completely. Clouds is laden with distorted sound effects and heavy guitar riffs – a product of his teenage years in the Staten Island hardcore scene.
Despite musical influences from younger years, the 32-year-old has crafted a mature follow-up to his last two records, remaining as politically minded and introspective as ever, while still developing both lyrically and musically. Devine has learned the art of concision on this record, with most tracks clocking in between three and four minutes while maintaining the singer’s dream-like, wistful quality.
“Between the Concrete and Clouds” is the most powerful song on the album, exhibiting all of Devine’s strengths as a musician and songwriter in a new light, as he sings about his own personal crisis of faith. A fierce sound – courtesy of his aptly named backing band, the Goddamn Band – complements his almost timid voice as he sings, “What if the end just ends? / It’s worthless to worry then.”
With the added layer of the full band, many of the tracks on Clouds aren’t as easily interpreted as the titular song. The meaningful lyrics are still there, but more difficult to decode. “11-17” is obviously personal, but the message Devine is attempting to convey is masked: “I thought I was in love / felt like it from close up / someplace to spill my blood was all it ever was.” The more light-hearted “The City Has Left You Alone” is a gift to fans who love the singer’s catchy turns of phrase.
Devine’s strength as an artist lies in the fact that he does not struggle to redefine himself on each of his records, but rather finds little ways to evolve. He reinvigorates his music in a variety of ways, whether it’s by adding a sound effect or distortion pedal, or by writing a folk song bolstered by a full band.
Every song Devine writes fits into the context of Clouds and the only complaint that fans might have with this album is that, while it’s a good record, it’s not the one that they know he can produce. They’re waiting for the perfect balance of acoustic folk ballads and grungy, distorted guitar riffs to complement his dreamy introspection.
With six albums under his belt, Devine shows no signs of slowing down anytime soon. He’s a nomadic touring machine and along with Clouds – released on Sept. 13 – he’s just released a 20th anniversary tribute album of Nirvana’s Nevermind for free download on his website. Check him out on www.kevindevine.net.
4/5 stars
Author Recommends: Elliott Smith, Either/Or (1997) and Okkervil River Don’t Fall in Love with Everyone You See (2002)