ALBUM REVIEW: Miles Kane ‘Coup De Grace’

It’s been a long 5 years, and two weeks in the making… reawakening guitar music, Miles Kane is back and more wired than ever before. His Album “Coup De Grace” brings back the familiar yet matured riffs, injected by intergalactic 80’s tones and sweetened emotions.

‘Too Little Too Late’ commences the album, a memorable song which fans will recognise, already being released as a single. This track is sure to elevate the crowd during his November 2018 UK tour, with quickly paced riffs immediately kicking off the track. It is clear that while recording the album, Kane was having just as much fun as his recent Instagram stories, jamming the new tunes with his band.

It is then slowed down slightly for ‘Cry On My Guitar’, where some American influences are present in the lyrics.  Accompanied by haunting and elongated guitar notes and his “sha la la la la’s”‘; each catchy verse merges with one another. ‘Loaded’, fitted with equally addictive material and guitar work, draws to the poetical lyrics throughout. This track was co-written by Jamie T and Lana Del Rey, who without a doubt have had an impact on the lyrical sensation.

More co-work with Del Rey was originally meant to be included in the album, to which Kane said “I wanted the new album to be wild, very lively. Some of the songs I wrote were slow ballads – they were quite John Lennon-y. That includes other songs I wrote with Lana. I’m still proud of the songs, but they didn’t work for this album”.

‘Cold Light Of The Day’ positively contrasts and vibes the album up with the tempo, quick lyrics and minor chord sequences merged The Fall-inspired yelps. There seems to be a pattern with speeding and slowing, adding to the full-blown musical experience of the album.

Clear Bowie inspirations coexistst with Kane’s wit and cosmic keyboard involvements; followed by soothingly slower lines and simultaneously smoothly played instruments. These Bowie influences are ever present in the album title song, ‘Coup De Grace’, which transmits an 80’s essence in its entirety, be it the distanced vocals or electronically infused riffs. The ridiculously addictive chorus will guarantee to be stuck to your head all day.

‘The Wrong Side of Life’ is again a slower number, though Kanes’ vocals takes a solo lead. Again, this seems to be a little more 80’s inspired in comparison to other album songs. Drums, seemingly out of time, add a quirky vibration to the title before accompaniments draw the song to an end. The quirkiness continues in the following track, ‘Something to Rely On’, with its chorus being yet another good feeling track to add to the masterpiece album.

Despite Kane’s absence from the solo material, with the release of this album, it is safe to say he is back, and better than before.  His  lyrical and vocal development is soaring sky high. This break  alongside Bowie the influence of working with Arctic Monkeys’ frontman and fast friend, Alex  Turner, has moulded the album into a work of art. One that definitely needs to be given attention, by everyone, everywhere.

Lottie Stuart

Lottie Stuart

Lottie Stuart

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