Since the release of his last solo album, Miles Kane has been through a whirlwind both musically and emotionally. Now let’s unravel Coup De Grace, his angriest, loudest, and most emotionally raw album till date.
The album begins with Too Little Too Late, a jumpy and heart-pumping track. It is the perfect introduction to an album with so much life and style. My only real complaint is that it’s too short! Something To Rely On is also brilliant, shining with the spirit of Kane’s musical persona. It’s so Miles Kane, and it’s oh so cool.
Cry On My Guitar is the album’s glam rock firework, a vibe which Miles particularly shines at. The Marc Bolan-esque vocals are electrifying! The music video furthers the song’s glorious demeanor, and shows just how much of a fun-fest/brawl it is. Already, we start to see the emotional side of the album creep in, with those internal battles that echo throughout this very personal and raw album.
The album then travels into a world of frustrated swagger with the funky and sentimental Loaded, written with Jamie T and Lana Del Rey. With a sound reminiscent of The Last Shadow Puppets’ ‘Pattern,’ the track’s swanky style makes it irresistible.
Next, we have Cold Light Of The Day. This 60s and 70s-inspired track is loud, angry, and raring to go. In terms of the anger, it certainly seems fitting. After all, album was named after the ‘finishing blow’ of his favourite WWE wrestler, Finn Bálor. Unfortunately, Coup de Grace is lacking in its ability to completely grab me, with its brilliant lyrics getting easily lost in the noise. Silverscreen is also lacking in its appeal, though at least it is partly redeemed with its very suave chorus.
Killing The Joke sees Miles singing of loneliness and ruin. It is a beautiful and addictive ballad that truly left me tingling, with ‘My Fantasy’ and ‘The Colour of the Trap’ being the last Kane (solo) tracks to achieve this. It really sounds like the emotional track you’d hear during a movie’s sad segment, when you’re wondering if things could ever get better. Wrong Side Of Life is the album’s best ballad, and one of his best tracks thus far. The track, which begins with punk undertones, fits perfectly into Miles’ swaggering scoundrel persona. But then, we soon find that scoundrel pouring his lonely and angry heart out. These beautiful ballads take me back to the spirit of ‘Sweet Dreams, TN,’ one of The Last Shadow Puppets’ best tracks. His ballads are magical indeed.
The album can be treated as Miles’ emotional journey, one which sees him fighting against his anger, frustration, and turn of fortune. Shavambacu can be the end of this journey, with him coming out the other end a lot gentler, thankful, and content. That gentle nature of the piano and guitar warmly takes me back to tracks like ‘The Bourne Identity,’ from TLSP’s Everything You’ve Come to Expect.
The final verdict?
Miles Kane has returned with a brand-new (yet still infectious) energy. This has been spurred on by his personal emotions and struggles, as well as his partnership with the vivacious Jamie T, who co-wrote a sizable fraction of the album with Miles. There is something for all Miles Kane’s fans, whether you’re looking for signs of The Last Shadow Puppets, the punk and glam energy of Don’t Forget Who You Are, or the beautiful melodies of The Colour of the Trap.
Miles, don’t go crying on the strings of your guitar. You’re doing great.
From Sophia with Love x