Northern Californian Jesca Hoop delivered one of the most underrated albums of all time last year with her sixth studio release The House that Jack Built. It cemented the singer songwriter’s talent for soul destroying melody, but debut Kismet did the leg work commercially. Loved by fans and hailed by critics far and wide, the 2007 affair has been painstakingly resurrected here, alongside two previously unheard tracks from the same era.

Hoop funded Kismet Acoustic herself using Pledge, allowing her the freedom needed to give the production a healthy, refreshing glow. This is by far the standout point of the album None of the songs are radically different, but all benefit from simple arrangements and stark instrumentation. The result is an interesting, though unfortunately too easy listen.

“Silverscreen” is the opening and arguably best known song of the album. On Acoustic its hollow, childlike sound transforms the chorus with a chilling zap, into something that might be sung by the zombified cast of Bugsy Malone. It's an impressive though unsurprising direction to take, picking out the haunting aspects of the original but leaving the thumb twitching structure behind. Elsewhere “Seed of Wonder” highlights Jesca’s vocal progression, and b-side “Paradise” charters her musical development, but neither of the songs stray far from their path. Likewise the new version of “Summertime” is less jarring, losing some of its raw charm, but presenting a delicate side of Hoop’s résumé that was admittedly missing from the original Kismet. All of the above update her CV without adding a new experience, like tweaking a description of past work to better reflect what's currently on offer.

Like Kismet, over the course of the record an African theme is moulded from call and repeat vocal harmonies. Unlike Kismet, occasionally instrumentation is so low in the mix songs may as well be acappella, allwowing for deeper reflection. The storyboard based lyrics of “Love Is All We Have” and "Worried Mind" suddenly push the edge of traditional folk. It’s easy to see how Hoop could have rubbed shoulders with Anais Mitchell and Lucy Farrell had she chosen a different route, but her recent dive into synth and experimental music means that now it's an unlikely turn of events and basically a redundant point.

Another artist to rearrange older material, Patrick Wolf's Sundark and Riverlight intends to present songs as they should have been heard in the first place. Whether Hoop would say the same of Kismet Acoustic is unknown. Kismet far from relies on an electronic influence, which means an acoustic version of its songs wasn't the most daring move to make, but this is still an undeniably careful alternative that pulls an identical weight to the original. A welcome addition to a fan's catalogue? Yes. Something to intice new fans in? It will probably just give them a view of her old work tainted by her new.

Release: 21st January 2013, Self-release