Pulp in Manchester this June
Foto: imago/ZUMA Press Wire
When I was in his mid -20s, I hoped that all my friends would make their way. There was a not so selfless thought behind this noble wish: “If you do it, I can do it too.”
Of course, life doesn’t work that way. We fall in love with the wrong people and make idiotic decisions that lead straight to the dead end. Not everyone gets the curve afterwards. It follows in the mid -40s of the cat jammer. Highly troubled you may call the “midlife crisis”, but actually it is only the feeling “I had somehow imagined my life differently”.
Jarvis Cocker has nothing to fear in this regard. He has always been disillusioned. His life was a crisis right from the start. His German mother squeezed him as a child in Bavarian lederhosen – in the English industrial city of Sheffield. Since I know that, nobody has to tell me anymore, he would have had a difficult childhood.
And after that it didn’t get better. As a teenager, he founded the band Pulp in 1978. This was followed by 16 years of insignificance. It was not until 1994 that he made a breakthrough in the course of the Britpop hype. Psychologically speaking too late – no more Sonnyboy should become of him. Instead, Jarvis Cocker used fame to let out all the pain that had accumulated over the decades on “Different Class” (1995) and “This Is Hardcore” (1998). After that it seemed better to him. “We love life” (2001), the last pulp album for the time being, was almost idyllic. Cocker seemed to be halfway with himself.
The following solo and project albums confirmed this impression. Jarvis Cocker did what he was looking for, for example to sing French chansons true to the original. “It’s nice that you have your fun,” we thought secretly, “but secretly,” couldn’t the songs be a bit more exciting? “
Our wish was heard. “More” sounds like missing shots from “Different Class” times (and in fact, some of the pieces are based on demos from long past pulp days). There is everything the band once made: stirring melodies in minor, an exciting production (withdrawn in the stanzas, broad -walled in the chorus) and of course Jarvis Cockers singing, which connects, which cannot actually be connected: coolness and pain. Nobody suffered even then.
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Now he is 61 and the crisis has him again. Because at your age you think that time is running away – “It is almost sunset, and we haven’t eaten too at noon” (“It’s Nearly Sunset and We Haven’t Had Lunch Yet”) – and that you could have done more of your life. “Grown Ups” is one of the bitterest songs that have ever been written about growing up. Cocker may not believe that a friend has been pulled close to the highway to be able to commute better (“He moved near the motorway ‘Cause it was good for commuting”). The high art of his texts has always been in such pictures. But its full effect unfold his lines by singing and thriving them or sometimes only speaks and breathes.
Of course, this also applies to “Tina”, the history of a relationship that only takes place in thoughts. A well -known leitmotif that already lived “Disco 2000”. In Jarvis Cockers songs, missed opportunities are teeming. Like in real life. Not hearing this album would be another.
Pulp: More (Rough Trade)
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