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Primitive musical ability, a distinguished style, charisma and a genuine fear of growing up are often the only things you need to become famous within the modern music industry. Miles Kane’s newest record Coup De Grace, however, detaches him from the mob he may have once seemed at home in.

Miles Kane has never been afraid to collaborate, his solo career has seen partnerships with Paul Weller, Kid Harpoon, Guy Chambers and of course Alex Turner. Although Kane is often labelled an accessory to his fellow Last Shadow Puppet, his contributions to me always seem underestimated – probably due to Turner’s reputation. The two friends aren’t always on the same musical page though, while Alex Turner has fully immersed himself in the sonic wizardry of the Arctic Monkey’s sixth studio record; Miles Kane has released the snarling and punchy Coup De Grace .

Kane’s main collaborator of choice for this record was Jamie T, with a contribution also coming from Lana Del Rey on single Loaded. His seemingly endless supply of established musicians often lead to extremely slick sounding singles but albums that lack in coherence. This record seems no different. With Jamie T’s punk-rock roots shining through sections of the album and other influences appearing elsewhere, the end result is a reasonably muddled, all be it, captivating LP.

Fresh from a breakup, Kane’s 3rd solo album opens with buzzy track Too Little Too Late. Although many of the lyrics are lost in the midst of the immediate and punky instrumentation, the crooning chorus: “I’m too fickle / Set in my ways / I’m too little too late” strikes a chord that usually remains unscathed when listening to a Miles Kane solo record. Kane’s admiration of T-Rex is obvious in the swaggering Cry On My Guitar whilst the infectious punk-funk title track would seem at home on Kasabian’s 48:13 album.

Lana Del Rey’s backing vocals are easily missed on Loaded, so dominating are Kane’s vocals. The sentiment of the lyric “My baby’s always threatening to leave”, however, seems lost and undervalued with witless lines “Funky like a monkey / With my makeup running”. The trancy synth ballad Killing The Joke is a highlight whilst the frenzied Cold Light of Day does not go unnoticed either.

Jamie T’s influence is no more obvious than on track Wrong Side of Life. A fuzzy vocal opens the track before Kane’s, now trademark, bark enters. It is here where Kane delivers his most passionate vocal performance. Concluding tracks Something To Rely On and Shavambacu confirm that the album does not run out of steam. The pairing may not be in the limelight like his other tracks but they are unlikely to lose value over the years.

Miles Kane’s third album has been successful in establishing him as a whole lot more than Alex Turner’s side-project but seems to lack the finishing blow that he envisaged.

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