James, Mercury (19/04/10)

Over a music career spanning three decades, Manchester band James have shifted more than12 million albums and scored 20 Top 40 hits, including the ever enduring Sit Down and Laid. Today, after reforming in 2007 following a six-year hiatus, the group release more brand new material in The Night Before, the first of two planned mini-albums (with The Morning After to follow shortly). This seven-track salvo delivers all the epic, rousing choruses that James fans have come to expect over the years, but it also fails to bring any fresh ideas to the party.

The record is produced by Lee 'Muddy' Baker, who worked with James on their 2008 reformation record Hey Ma. The mini-album was recorded in an usual way of each band member uploading their parts to an FTP server to be knitted together by Baker. Such a disjointed approach could run the risk of producing a fractured album, but that's not actually the case. The Night Before exhibits all the coherent and purposeful build-ups and soaring vocals that you would expect from James, though the band's tried-and-tested formula is starting to feel a little tired.

Opening the record is Its Hot, with the expansive base building to an inevitably rousing chorus, perfect for those pulsating, sweaty live shows. The song is expertly produced and does its job admirably, but it also feels somewhat dated in today's music scene.

Next up is Crazy - inspired by lead singer Tim Booth's hospitalisation with liver disease - which shows more purpose and drive to endear it to the listener. The song is fairly standard, but it still packs the punch that always made James compelling to their fans.

Ten Below has shoegazing elements, with its lilting melody building to a strong conclusion, but the lyrics are rather dreary, which makes the song hard to love.

Porcupine meanwhile has great balance, with the down sections beautifully complimenting the rousing punch of the trademark chorus. Indeed, The Night Before's problems are not necessarily with its musical quality, but rather that the album feels a little tired, as though James have stayed the same while the world has changed around them.

Overall then, The Night Before is a bit of a mixed bag. At times, the mini-album really brings to life the James magic with its rousing choruses and hooks. However, other points feel woefully dated, tired and behind the times. The James fanbase will certainly find a lot to love with the record, but new listeners may wonder exactly what all the fuss was about in the first place. Let us hope that The Morning After is not too bleary eyed to bring some badly needed new ideas to refresh the band for the music scene of today.

review: Andrew Laughlin

wearejames.com