words fae Oliver Butler (@notoliverbutler)
Appearing from the wilderness when we needed him most, Miles Kane has returned to sprinkle his whimsical indie magic over us with new album, Coup De Grace. As per usual, it’s a smorgasbord of interesting & exciting tracks, with the odd filler track hither and dither.
It’s been five long damn years since the release of the patchy but palatable Don’t Forget Who You Are, with Miles having fun in The Last Shadow Puppets, or just generally enjoying being a rockstar, including playing in a Beatles tribute band with Matt Bellamy of Muse. How do you spend your free time?
In an interview with Annie Mac prior to the release of lead single Loaded, the Scouse sonic sorcerer hinted that we’d see a plethora of influences, most interestingly, something that sounds like the Ramones. To which you probably screamed “Bollocks! Miles Kane? Punk? Get away with you”, or more likely went “nice, that’ll be good, maybe”. However, for the percentage of you that screamed bollocks, prepare to be blown away by album opener Too Little Too Late.
It’s Miles Kane alright, but it’s a raughty (raunchy and naughty) punk track to get the album off to a strong start. It’s classic punk, with the frantic, yet simple chords and the structure of the chorus. It’s hard to say the Ramones are an influence on your album and back it up, but with Too Little Too Late, it walks the walk. It’s not a loose bastardisation of a punk song, with the chorus being crooned in Miles’ familiar style, and up-pitch guitar. It sets the standard for the rest of the album, but fortunately, everything else is up to code and doesn’t slip straight down the cliff after the opener.
Even in the weaker parts of this album, even the most casual of Miles Kane fans can take heart knowing that where the tunes are good, the Greatest Showman himself will take these tracks and turn them up to 11 on the live stage. And that’s pretty fucking comforting, knowing how good these songs sound, they’re going to sound twice as better live.
As we do these days, plenty of singles were dropped prior to the album’s release, so let’s take a gander at some brand new bangers. Cold Light Of Day is stunning and follows the same sort of punk-based blueprint as Too Little Too Late, but this is more classic Miles Kane. Again, with many modern albums, it’s hard to work out if it’s an advance in production techniques and sound, or whether everyone’s stepped their game up, because Coup De Grace is miles (HA!) better than Don’t Forget Who You Are, which, although with a few fillers, it was largely killer. Whisper it quietly, but this is even better than Colour of the Trap.
There’s a slightly sentimental vein running through the album, not surprising considering that the writing process for this album was kick-started by Miles having a breakup. However, the first single off the album, Loaded is probably one of the weakest songs on the album, penned about the protagonist’s girlfriend failing to save him, and the first one he wrote off the back of his breakup. At the time it fairly whetted the appetite for a new album, but looking back on it now it pales in comparison to the rest of the album. Even having melancholic maestro Lana Del Rey co-writing the song couldn’t save it from being lackluster. It just doesn’t land, you know? It sort of just fades into the background.
Keeping the microscope on breakups and new tracks, you’ll be hard pressed to find a track better than Killing The Joke on this album. One of Miles’ strengths is playing a slightly soulful acoustic track, in the vein of Colour of the Trap and Out of Control. It’s quite emotional, and a little bit self-deprecating, it’s nice, there’s a sort of ballroom slow dance feel to it at the start, bathed in dim light, fading into nothingness. There’s even a shout out to Bruce Forsyth with “it’d be nice to see you, to see you nice” in the first verse. Want any proof it’s a good album? There’s a fucking Brucie Bonus on it, name another album with a Brucie Bonus on it.
The new, new songs have a lot of grunt to them, but if you’re looking for a high water mark, or a stand out track, you’re out of luck, because it’s a straight-up scrap between Cry On My Guitar; a dick swinging anthem that swaggers its way through your ears, or title track Coup de Grace, which has a real darkened boudoir feel to it. The vocal style on Coup de Grace particularly is very similar to his friend Alex’s vocal style on a recent album by Arctic Monkeys. Whether the chicken or the egg came first on this vocal delivery is insignificant, as the smooth, velveteen vocals on Coup de Grace really make it, layered over the deep, grooving bass like icing on a sponge cake.
It’s hard to find a weak point on this album, sure, you might find you spend less time with a track like Shavambacu, the title which reminds you of the “fre shavac ado” vine, rather than something like Cry On My Guitar, but is that a bad thing? No, Coup de Grace’s problem is that there are some inch-perfect tracks on there, which means the tracks that aren’t inch perfect don’t entice you as much. It’s a nice problem to have, that an album has so many perfect tracks, the really good tracks just seem a little less appetising.
Lyrically, you could say it leaves you wanting, but coming to Miles Kane for poignant lyrics and insights on the modern world is like coming to Socrates for his philosophy on drinking cans and wearing skinny jeans; you don’t really come to expect much substance from either. What you come to him for is some dancy tunes, the occasional acoustic banger, and the live show. However, lyrically, he told the BBC that “it’s very personal”, so the story we hear on the record may have completely different meaning to him than it does to us. It’s also quick to poke fun at the comment that he called it his “Adele album”, but from the content & theme of the tracks, it’s quite easy to see what he means; it’s inspired by heartbreak, something that Adele does second class to none.
Shavambacu is the album’s closer, and a common theme in these reviews is making sure the credits roll with a good track, and this is no exception. It’s quite melancholic, with a real “walking through London in the rain feel to it”. Lyrically it feels like the protagonist is pining for their love, and it’s quite a sweet song reflecting and lamenting on missing your lover. Absolutely no fucking clue what Shavambacu means, closest Google Translate offers is that shavambacu is a Malayan word, and is Malayan for shavambacu.
On the whole, the album feels like a complete departure from Don’t Forget Who You Are, and even Colour of the Trap. It still feels like it’s got the familiar Miles Kane feel, but tracks like Silverscreen, with a frantic tempo and strained vocal from Miles feel as far away from his blueprint as possible. However, in the unfamiliarity comes excitement; this is a new sound from Miles, and though “Coup de Grace” is French for “the final blow” (thanks, Google Translate!), fingers crossed that this isn’t the final blow from Miles, and we see something similar to this in the near future.