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Miles Kane - Don't Forget Who You Are (Review)
Indie | Thursday 6th June 2013 | James
The album sleeve on Miles Kane's second solo album Don't Forget Who You Are is apt. There he stands, mod haircut trimmed to perfection and looking suitably dapper, whilst his mother works tirelessly behind him at a butchers shop in Liverpool market. At 27, Miles Kane has already been put through the ringer numerous times during his career. His first two bands The Little Flames (in which he played guitar and supported Arctic Monkeys) and The Rascals imploded like a nuclear missile whilst his debut solo record (2011's Colour of the Trap) received good reviews but lukewarm record sales and failed to cement his place at the high-table of British rock.
Kane does, however, already have one successful application to the Great British Album club: the 2008 eponymous Last Shadow Puppet debut record was a wonderfully crafted album alongside Arctic Monkeys frontman Alex Turner and genius producer James Ford. Here sits Kane with his latest attempt at becoming this generation's Weller or Bolan and with the increasing realisation that Kane doesn't have much longer left to create his bona fide classic.
You wouldn't believe him to be a man under pressure, though. Album opener 'Taking Over' has a cheeky carefree Beatles-esque chorus coupled with infectious clapping and a soaring Kane vocal. “Unfashionably outrageous” Kane spits, but anybody who has ever seen him will know that he's just cajoling with this line. One thing you cannot accuse Kane off being is unfashionable, yet at timers through his career it has appeared style is more important than substance. The titular track starts brilliantly with Smithsian jangly guitars (Kane and Marr both support The Stone Roses at Finsbury Park this weekend) yet the track collapses under its own weight when we reach the chorus. The pleas of “don't forget who you are” sound empty and ill-advised with “la-la-la”'s which reek of Kane trying his best to be radio-friendly.
In truth, Kane is best on the record when he portrays himself as fallible. Whilst many may attribute his sound to the lad-rock corners of the Gallaghers and Kasabian, his musicianship is much closer to Bolan, Bowie and Weller. Kane often comes across as a sweet and tender soul, none more so than the rousing, 'Heroes'-esque 'Out of Control'. “You're taking me on a journey into the unknown” Kane concedes before rubbishing Bryan Ferry's idea that love is a drug. “I know there's a place in your heart that I can call home” Kane hums in his affable Scouse twang.
Prior to the album release, Kane broke up with long-time partner Suki Waterhouse (British model who is now being linked with Bradley Cooper) and, as such, the lyricism is packed full of heartbreak, isolation and longing. “I need excitement, I need a cure” Kane spits on the blistering 'Bombshells' whilst 'Tonight' hears of a girl who is “guilty” and “childish” with Kane asking “is it too late for us now, baby?”. The track features the best riff of the record, with a scorching tempo and urgent drum beat. There is more longing to come from the Wirral Riddler, notably 'What Condition Am I In?' which hears Kane asking the titular question given the context “when you're racing round my head”.
'Fire In My Heart' shows a slow-down in tempo but, rather than displaying Kane's tender side, the song just comes across as a filler track from an Oasis album (or, more frighteningly, Beady Eye's debut record). The song is full of cheap rhymes but thankfully 'You're Gonna Get It' follows it and proves to be the finest thing Kane has recorded since 2008. Co-written with Paul Weller, the song features face-melting riffs with Kane's howl of “you're gonna get it, you're gonna get it now” sounding menacing and harsh. 'Give Up', meanwhile, is an overt personal swipe at his ex girlfriend with taunts of “you're pretty, good looking, but I'm looking for a way out” with a raucous guitar riff and an explosive chorus. The song has already proved to be a live favourite and will no doubt be a staple for his festival sets this summer.
'Darkness In Our Hearts' suggests Kane has “gotta be ready for this” and he's not wrong. This is the finest collection of tracks he's made since The Last Shadow Puppets debut record. There is an odd trip along the way, but it is thankfully only brief. The glam-infused stomp of 'Better Than That' somehow manages to effortlessly merge Iggy Pop and 'The Jean Genie' and still sound like nobody but Miles Kane. It is a testament to his ability as the singer-songwriter has crafted a record which features numerous guest spots (Ian Brodie of The Lightning Seeds co-writes 'Give Up') and walked away from it at the end as his own man.
The record may not be the definitive of Kane's career. No, the second Last Shadow Puppets record (which is still yet to come) will undoubtedly grab that mantle. However, it is a crucial release which sees Kane forging his own identity once again. He may have all the famous fans and friends, but on Don't Forget Who You Are, Kane manages to create a piece of work which sticks rigidly to the title manifesto. Kane, after all this time, is still his own man. In the shadowing presence of Alex Turner and Paul Weller, that is an accomplishment in itself.
Here, we look at Miles Kane's upcoming London shows: http://guestlist.net/article/8372/miles-kane-doesn-t-forget-who-he-is/
By James Rodger @jamesdrodger
