It seems to be catching on, this idea of releasing pairs of mutually complementary albums or mini-albums. To a large extent it's a concept that appeals to me; it lets us get hold of records more frequently, helping to minimise those long waits we're used to these days. Also, if it encourages bands to broaden their palette of themes and styles by creating links between records - even if they are a bit tenuous - then I'm all for it on that front as well. While we wait for Röyksopp to (finally) release the second part of their album duology, it transpires that James have started one. Clocking in at seven songs, of which one is a "bonus", The Night Before is the first part of a two-part mini-album release by the Manchester legends. The second part, not entirely surprisingly, will be called The Morning After. On the one hand, the lyrical depth on display across the songs here gives me some hope that these two planned records might really deliver on their promises and involve some intriguing level of cross-pollination. On the other hand, I can detect only vague connections between the songs and this first record's title, so what those connections to the next record might involve, I can't say. You might assume that given their titles, The Night Before might be louder and more bullish than its sequel, which could be more quiet and introspective. Without a doubt, this first part of the set is an uplifting, even soaring experience. Over a gradually building template of synthetic beats and electronic noise, Tim Booth roars about "a leap of faith" on opener "It's Hot". The lyrics are an allusion to sex at my best guess, Booth proclaiming serenely at the end of the choruses that "life loves to exist".Booth dominates the record, to be honest. It's not that his bandmates and the music itself are pushed into the background in any way, or that they're not interesting; quite the opposite. Excellent strings and drums are the standouts in a thoroughly impressive set of soundscapes, but it's hard not to be drawn more than anything to Booth's honest-sounding vocals, as inviting as they were on "Sit Down", all those years ago, or indeed "I Know What I'm Here For" if you're as much of a whippersnapper as I. Whether sounding serene, confidently confused as on "Crazy" or angry on a line or two in "Ten Below" Booth is an intelligent, emotive presence. And he'd need to be, given some of these lyrics and their idiosyncrasies. "Dr. Hellier" fuses the war in Afghanistan with the 1966 sci-fi flick Fantastic Voyage in the first verse alone; in "Porcupine" Booth describes himself as the titular prickly animal and another as a skunk.Musically the record is maybe best described as a fusion between familiar and unfamiliar sounds. One chorus might consist of raucous, loud guitars, as familiar to us as any. But over them, Booth just wails semi-coherently through distortion; on another song, the reverse will be true, as Booth sings with perfect clarity over curious electronic noises, or echoed guitar, or both. There's a great mix of conventional instruments and more unusual sounds, and an impressive variety of moods and tempos considering this is such a short record. Consistency is easier to achieve on a smaller palette, it's true - but consistency is nonetheless most definitely achieved here. These are sophisticated but accessible songs, exciting, moving and subtle.The fact that James are able to carry off the weighty themes with which The Night Before deals, using the intriguingly odd lines it employs, and still turn the whole cocktail into such a readily listenable and digestible package is a testament to their significant experience and talent; this one comes recommended. I for one eagerly anticipate waking up to The Morning After.