INTERVIEWS, REVIEWS & RELATED ARTICLES
Mojo APRIL 2016 - by Martin Aston
JAMES: GIRL AT THE END OF THE WORLD
Manc perennials reach a new plateau of sleek modernism.
Twenty-eight years in the field (not counting the six between 2001 split and 2007 reunion), in time-honoured fashion James claim their fourteenth album is their best yet, and the most stressful to make. It's their most electronically melded, more so than the Eno-assisted early '90s era, with Eno again involved, as consultant, while producer Max Dingel taps more of his work with Killers and White Lies than on James' preceding album, La Petite Mort. They've wisely dialled back on that album's Madchester-aping too, preferring spiralling patient build-ups to four-on-the-floor throbs, such as Attention and Surfer's Song, while Dear John and Feet Of Clay provide breathing space. If there is an anthem, Nothing But Love does the trick. Girl At The End Of The World lacks the hooky brilliance to be James's best, but it's a Top 3 contender.