Pulp is a band that is getting older and it shows on their most recent release, We Love Life. Front man, lyricist and only constant member Jarvis Cocker just turned 39, but pushing 40 doesn’t seem to bother him. It seems he’s made the required adjustments and decided to push on as one of England’s most unlikely pop stars and sex symbols.
Pulp’s last three efforts, His and Hers, Different Class, and This Is Hardcore served as the coming of age soundtrack to countless offbeat British teens and twenty-somethings. The lyrical and musical content of these albums is dark, brooding and slyly sexual. These albums conjure up memories of last night’s party, the sketchy things that went down, and today’s hangover and regret.
If that last statement is true, then We Love Life is the end result of mental and physical healing processes, which for Pulp fans is a bit difficult to understand. Only after getting past the predominantly upbeat, baroque arrangements will one realize that Cocker’s rapier wit is still very much intact and sharp as ever.
Much like John Lennon before him, Jarvis Cocker has an innate knack for producing metaphors and situations that make you think.
The opening tracks “Weeds” and “Weeds II (the origin of the species)” show us how we, as common folk, could be viewed as mere weeds by the powers that be.
“Bad Cover Version” links an old girlfriend’s new lover to a karaoke styled imitation. “The Night that Minnie Timperly Died,” a standout track, brings empathetic emotions for a fictional Limey teen’s abduction and tragic ending.
A personal favorite, “The Birds in her Garden” will confuse listeners. Is it a cute number about making love in the morning or does it channel the desperate voices in the mind of a would be rapist on the make?
While the lyrical content is perhaps a bit lighter than previous efforts, the musical direction has definitely been affected by the extra sunlight that Cocker must be getting.
Legendary 60s chamber pop maestro Scott Walker came onboard to produce the recordings; his creative stamp is clearly evident.
Nick Banks and Steve Mackey, drummer and bassist, respectively, lay down a loose and smart groove underneath guitarist Mark Webber’s song structure.
While Keyboardist Candida Doyle’s parts are not as prevalent as on past Pulp albums, she adds an efficient amount of layers and texture, which serve these eleven songs very well.
Despite being released over a year ago, it has only been available in the U.S. as an import until a few weeks ago. This album won’t break Pulp in the States; in fact, they’ll never appeal to the masses here.
America may be a land of opportunity, but it seems this doesn’t seem to carry over to intelligent pop music. However, that doesn’t seem to bother Cocker and company, as their acclaim is heralded most everywhere else in the world that has access to modern technology.
If one is new to Pulp, this is definitely not where to start. Perhaps explore said previous albums and work your way into We Love Life after you’re feeling like it’s time to cheer up a bit.

Author