Keep it here - 21 - Backdraft - Slowly, slowly
El Passo - Belly - My return - Gravlaks
For my girl - We'll never win
For sale at your favourite recordshop or mail King Me.

Reviews (Dutch reviews below)
 

OOR

Made with love and care: Keep It Here, the third King Me album. This CD is not made as a “band”, but as a project. The word was King Me did split up, but that is not true. That last part is a good thing! The band name is taken from a song of Will Oldham. This formal Palace Brother and King Me have the same crave for melancholia, but with the more mysterious Keep It Here, the band of Michael Milo is more related too indie-bands like Grandaddy, Lambchop en Club Diana (who’s singer Brand was borrowed by King Me on this album. Strong Album. King Me? Yo Elvis, pass the crown. (By René Megens)

 Fret

 Singer, songwriter, guitarist, and composer Michael Milo searched for magic for a while and found it in the Next To Jaap Studio. With help from musicians who were there from the beginning and gust-musicians from the bands Seesaw, Zoppo and Club Diana, Milo was working on the new repertoire. The demo-version was already appealing but due too new arrangements the songs sound even richer. Despite a lot of angels of incidence and the big range of instruments the album is breathing unity.After a short introduction song the third album of King Me brakes loose with the charming song 21. Rhythm box,  electronics, and loops are  filling up the composition without smothering the root of the song with effects. The moody song Slowly, Slowly is colored by violins and cellos. The songs are introspective, but they also rock, like on the up-cheering Belly. Keep It Here is an album full of beautifully shaped sadness.  (by Gert Verbeek) 

Independent Mind
On the Dutch group King Me's last album, they had trouble escaping the pull of their influences. On Keep It Here they free themselves through increased experimentation. The songs are stretched out and heavy with thick reverb and drone, marching plaintivly through syrup. The vocals are usually low in the mix and hard to understand (also due to the Dutch accent on the English lyrics) but the inflection and melodies are unmistakably forelorn. The production and mix make a drifting and dreamy soundscape out of several guitars, bass, cello, organ, drums, vocals, and tapes/effects. The record does drag a bit around the middle (it kind of starts to sound like a lot of the same), but it picks up again and finishes strong with the final two songs. (by Edward McElvain)