CD of The Week

This may seem obvious, but there was almost an exact correlation between a Britpop act’s 90s stateside success and how much you could erase the Britishness of the band’s lyrics and subject matter. Because Oasis wrote and performed universal anthems about living forever and taking advice from girls named Sally, they had three platinum albums in America. Meanwhile, Pulp, whose signature song contains several uses of a British slang term for a cigarette that is only known as a homophobic slur in the U.S., had their highest Billboard charting album (1998’s This is Hardcore) peak at just #114 in 1998. However, since their breakup in the early 00s, Jarvis Cocker and his bandmates have attained a considerable following on this side of the Atlantic and are playing some impressive venues on their U.S. tour this fall. More, Pulp’s first album in 24 years, is a welcome surprise to accompany the tour. Filled with clever lyrics, powerful hooks, and unique insight, More comes shockingly close to their 90s heights and represents the platonic ideal of a reunion album.

Pulp’s special magic really begins with Cocker; a charming crooner and distinctive songwriter whose wisdom and debonair flair always separated him from other alt-rock frontmen of the era. Cocker is equally credible pining for women on trains (“Tina”) or reflecting on the mysteries of existence (“Partial Eclipse”) and witty wordplay pops up frequently such as when Cocker mixes the sacred and profane (“Here comes the Holy Trinity / Behold the crown of all creation / Come on, let’s have a threesome baby / You, me, and my imagination) on the R&B semi-parody “Slow Jam.”

The rest of the band, whose non-Cocker members are the primary composers, is also in top form as a propulsive groove is present on up-tempo numbers such as “Spike Island” and “Got to Have Love” and grand arrangements and well-deployed strings add depth to songs like “Farmers Market,” which reflect a more mature perspective without becoming too stately (the excellent production by James Ford, who has worked with Arctic Monkeys and Fontaines D.C, also plays a role in getting the balance right). “Grown Ups” is also a real highlight, possessing a swaggering riff and spacey imagery. It’s also the only song on the album composed solely by Steve Mackey, the band’s long-time bassist who passed away in 2023. There’s a sense that his death might have added some urgency and extra meaning to the recording of More, and if so, then the prominent placement of “Grown Ups” as track #3 is a touching tribute.

Expectations might have been low for More given the mixed history of reunion albums, but it was never fair to doubt Pulp’s ability to tap into their ineffable strengths again. There’s no undercooked material or failed genre experiments, just quality songs that echo His & Hers and Different Class but with some extra insight and perspective that comes from the passing of time. Tony Soprano may have famously only wanted “some pulp” in his orange juice, but longtime fans of the band and newcomers who appreciate clever, expertly crafted rock from across the pond will want More.

Pulp will be singing along with the common people in Philadelphia for the first time since 1996 on Tuesday, September 9th at The Met.