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4.6 out of 5 stars
Don't Forget Who You Are
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4 of 4 people found the following review helpful
His first album 'Colour of the trap' (2011) was one of the most thrilling thing the music Industry gave us recently! The second one, this one, is pure energy with fantastic songs; all of them could be singles. The production by Ian is excellent and Paul Weller, Andy Partridge are added pearls in a treasure which lives because of its great value. Glam Rock, danceable riffs, choruses and sharp guitars make this record a joy from the beginning to the last second; "Give Up" and "Don't Forget Who You Are" are the first singles you can listen everywhere, but my favourite Tracks are "What Condition Am I In?" and "Fire in My Heart". Honestly all tracks are great and I like the order Miles put these tracks in the Album. In Concert should be incredible! It's my Summer CD but I think I will love it also in Wintertime.
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2 of 2 people found the following review helpful
If you enjoyed Miles Kane's debut album 'Colour Of The Trap', which I regard as something of a masterpiece in the modern British record, then you'll definitely enjoy 'Don't Forget Who You Are'. Although it is a very worthy followup, I don't think it's superior to 'Colour Of The Trap', his first remains his best so far.

The single of the same name is one of the highlights on here, a perfect feel-good song with a great chorus, but most of the others are worth listening to on repeat as well. Personal favourites include 'Taking Over', 'Better Than That' and 'Tonight', all of which are immediately catchy and energetic. Like other reviewers before me have written, 'Don't Forget Who You Are' is the CD of my Summer as well.

I don't think that anyone will forget who Miles is for a while, and if he continues to release such brilliant albums, I think that he will have a long career and shall receive the recognition he deserves as an extremely talented singer and songwriter.

Quality new album, highly recommended!
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1 of 1 people found the following review helpful
on 10 June 2013
Mile Kane's debut Colour Of The Trap was a sleeper hit back in 2011, flirting with various styles of blues, indie and soul. This follow up sees him sharpening his sound into something more brash and aggressive, with oodles of finger-clicking melodies and hooks. For the most part, it works.

The tone is instantly set with opener Taking Over, a snappy, snarling bombast which is indicative of many of the tracks here (only 4 of the 11 tracks pass the 3 minute mark). The sleazy, glam-tinged You're Gonna Get It is equally thrilling, whilst Don't Forget You Who Are is probably Kane's most anthemic track to date.

The only dip comes in the tender Fire In My Heart, an ode to hopeless romanticism that flounders slightly. It's a small quibble in a set punctuated with thrills and excitement, with Kane sounding more assured and confident than ever before. Anticipation now begins to see what he can come up with on the next album...
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2 of 2 people found the following review helpful
on 15 June 2013
In spite of a somewhat mixed reception using terms such as "60's pastiche" etc, I love this album. His musical influences are clearly there to hear, but he executes this style with absolute perfection. If this were Alex Turner rather than Miles Kane, perhaps the critics would have been rather more lenient! All I can say is that from start to finish, this amounts to a near perfect 40 minutes.
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3 of 3 people found the following review helpful
on 13 June 2013
Loved Colour of the Trap but after only a couple of listens think this is better! Catchy songs and great hooks. Will be in my car all 'summer'!
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on 28 June 2013
Miles Kane likes to talk. He also likes to dress well. He likes to talk about dressing well. But he knows music is his bread and butter. Kane, after three different debut albums, and one in the vaults, finally creates a follow up in his own smartly dressed guise.

Don't Forget Who You Are is a move away from the previous Link Wray inspired, 60's thriller soundtracks by John Barry and more towards young-scally-heading-out-for-a-few-pints-sing-a-long. Yet, despite his Liverpudlian roots, Kane has never smelt much of Beatlemania, but the potent whiff here is further strengthened by a Gallagher influence. There is also a distinct switch up to a more muscular, noisy set of songs from Colour of the Trap. Live, this energy will create more power within Kane's already blistering live shows.

Taking Over opens with a swaggering glam riff and a steady beat marching towards a chorus of 60's girl band harmonies and zips to and thro as Kane sings about a girl getting a hold on him, until it plays out to a squally guitar. It's quickly followed by a skiffle-like title track, where Kane's clothes get a mention as they make him feel good, and an echo of Hey Jude's la la la refrain inviting listeners to sing-a-long. Kane's musical starting gun probably went off about here, Lonnie Donegan was a great influence on the Quarrymen, and they ran with it.

The Scouse thread continues with the Merseybeat sounding Better Than That sailing straight from America into the King's Dock. The frenzied handclaps came in on the same tide, no doubt provided by girls in mini skirts and heavy eyeliner, and blazes out in a Bowiesque instant. He namechecks Bardot and Brando to get the message across as to how good he's feeling tonight.

With the Lightning Seeds' Ian Broudie overseeing production, the message is clear; timeless pop is the sound I'm looking for. There is, however, influence from later generations British pop. Out of Control sounds like a combination of The Verve and Oasis pieced together by Kane, which underlines the noticeable increase in size of songs, resonating with a similar progression as his generational forbears.

A different angle eventually hoves into view as bubbles of electronica fizz like a nagging echo of Pinball Wizard through Bombshells, and continues with the heavier, White Stripes inflected, Tonight. Both travel at full tilt giving the album an energetic centrepiece, and adrenaline to continue on this night out.

The pace eases with the piano led, acoustic strum of Fire In My Heart, similar in template to the earlier Out Of Control, unfortunately only the tinkling ivories keep it alight. Then the handclaps return with You're Gonna Get It, which, given Kane's sartorial leanings, is it perhaps too cute to suggest it sounds like ZZ Top's Sharp Dressed Man?

Miles Kane Louche WP

The tough and heavy Give Up brings back the shouty choruses with the "You're pretty good lookin'/but I'm looking for a way out" festival participation line. Maybe a nod to former girlfriend, model Suki Waterhouse.

Kane shouldn't be held responsible for being influenced by acts such as Bowie, Weller, Gallagher or the Beatles, who have, incidentally, been influencing musicians for over 40 years. He isn't claiming to be offering anything new. Don't Forget Who You Are is not cerebral; the songs aren't deep. Kane's lyrics are as straightforward as his clothes are sharp and these pop darts hit their Mod target. But any quirkiness that made Colour of the Trap and The Age of the Understatement so appealing is abstracted via the new collaborators, who do what they do best, and, in Weller's case, very little of anything else - Weller's Sonic Kicks is weighty evidence of this - and his offerings are the most pedestrian here.

The lack of real commercial success from this earlier pair of recordings may have ushered him into seeking the mainstream. Inviting Broudie, and his pure pop nous, to produce and co-write suggests it is what Kane wanted, and often serves him very well.

Don't Forget Who You Are is an exuberant romp of a Saturday night out, full of cheeky charm where Kane sings with an infectious wide mouthed joy encouraging you to join him and his mates in having a pint and pulling the birds. This is a rollicking little album packed with short smacks of 60's and 70's rock `n' roll highlights shot through with more modern good time elements which should keep Kane on the airwaves, on festival line ups and in the beer gardens of Britain this summer.

For more music reviews visit alexandertate.wordpress.com
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1 of 1 people found the following review helpful
on 9 June 2013
Miles Kane slams down an anthemic 21st century blend of melodies and attitude into the sterile blandness of most popular music. With undertones of the 1960s, layered with haunting melodies from the britpop 1990s, his sound has a confident edgy attitude that's worthy of modern ass-kicking music.

This album should be in every upbeat music fan's mp3 library.
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1 of 1 people found the following review helpful
on 15 June 2013
MK almost manages to reproduce the energy and vitality of his memorable live performances on this record.
Just like on "Colour of the trap" it contains some fantastic catchy melodies but unfortunately does have a couple of duds!
Which do not detract too much ,from the overall enjoyment of the record.
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2 of 2 people found the following review helpful
on 11 June 2013
not a bad track on it. as good , if not better than, The Colour of the Trap, which was quality
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1 of 1 people found the following review helpful
on 30 June 2013
No need to fast forward past a track that isn't really good enough - every song's excellent and could stand as a single in its own right. On the strength of this, I can't wait to see Miles on tour in the autumn. HIGHLY RECOMMENDED!
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