ALLGIGS REVIEW : THE NIGHT BEFORE

A seven track mini-album of brand new studio material, 'The Night Before' is the first of two offerings this year from Manchester band James; the follow up, 'The Morning After', is scheduled for release later this summer.

James' career has been one of many ups and downs; they originally formed in 1981, were most successful in the 90's (think 'Sit Down', 'Laid', 'She's A Star' et al) and disbanded in 2001 before reforming in 2007. During the 1990's they were supported by both Nirvana (ahead of 'Nevermind') and Radiohead, who obviously both went on to be big things. In 2000, just prior to the release of 'Yellow', James were supported by Coldplay. Despite the hits and long spanning career, they've never quite achieved the success of the aforementioned supporting artists. And there's the old saying it's never as good second time round. So, how does the second studio release since the reformation fare? Well, never straying far from their trademark sound, James offer us much the same as their hay day with a contemporary slant; they've lost the brass from 2008's 'Hey Ma', replaced it with more synths and electronics and presented an altogether well produced, well balanced, well written development of the James sound.

The album opens with 'It's Hot', a strange choice for opener with its' twenty six second atmospheric introduction and lack of typical song structure both lyrically and harmonically; sections are created through the different orchestration of each repetition, building throughout. 'Crazy' follows which is apparently the centre piece of the mini album inspired by the lead singer Tim Booth's hospitalisation as a result of liver disease (and recovery thereof), and his ongoing paranoia that his physical state and suffering of hallucinations rendered him 'Crazy'. Lyrically it's powerful, the chorus goes; 'I'm not crazy, I'm just laughing at myself, I can't look so strong and feel so insecure' and later Booth sings 'I don't know if I'm the poison or the cure'.

Powerful, well written, mature lyrics are a constant throughout the album; 'Ten Below' continues in a similar vein implying the search for a release from depression, its' lyrics are quite nostalgic, reflective and down yet the musical feel is, in contrast, driven and energetic. The chorus of 'Ten Below' consists of a similar repeated phrase structure to James' previous big hits; in his distinctive, soaring, Bono-esque tone, Booth sings 'When's the holidays? Holidays? Holidays?' The musically contrasting spoken bridge that follows talks of the subject being 'at war with himself' and looking for an 'easy way out' and similarly 'Porcupine', which follows, talks of putting 'on a show when inside I'm broken'; all of the lyrical content of the album relates to the same theme. 'Porcupine' has a different musical feel, however; starting with nice polyphony between the two guitars and the bass, it's on this track that simultaneously both James' 80's roots and contemporary awareness are most present with their bed of atmospheric synths and electronic drums. Not only are synths and electronic sounds very favourable right now, but James' instrumental blend just works well.

'Shine' is a pumping, energetic track from the off, with stop time verses and the lead guitar following the vocal line, it offers us yet another different feel whilst keeping the same overall distinctive band sound. In contrast to the other tracks on this album which seem to start thinner and build, this track breaks down towards the middle before building towards another positive, catchy upbeat chorus that James do so well; 'sh sh sh shine like a ghost, sh sh sh shine to be loved the most, when you're gone your songs outlive your story, let it shine, let it shine'. However, in keeping with the chopping and changing in musical feel of 'The Night Before', 'Dr Hellier' has less positive, political, military stimulus and starts with tribal sounding drums and bass and talking of such topical issues as the Taliban and the nuclear age. Its' chorus is still a catchy James special, yet Booth sings in a more raucous tone with aggression in his voice and flanked by screaming guitars.

The concluding track on the mini album, 'Hero', talks of change, perhaps hinting that 'The Morning After', the scheduled follow up to 'The Night Before' could be the flipside to this thematically less positive album? We have to wait until July to find out what James have next in store for us, but, in the meantime, 'The Night Before' tides us over nicely; a great little effort and welcome return to form.