Kevin Bronson on May 18th, 2009

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[Thanks to Buzz Bands contributor Lawrence Gjurgevich, a man of pulp, for weighing in with his expert opinion on this new release:]

Jarvis Cocker, “Further Complications” (Beggars, May 19) – Just the mere mention of Cocker’s name, among pop music fans and especially Anglophiles everywhere, sets off a storm of conversation about his band, Pulp (still on “hiatus” since 2002) and their place in history.”  The little band that could finally did in the summer of ’95, and saw them eclipse indie darlings and NME favorites Oasis and Blur as the brightest stars in that funny little galaxy known as Britpop. Whether by design or luck, Jarvis and company found themselves at the fore of a movement that allowed them to sing their “kitchen sink dramas” about sex, nights out, sex, Sheffield, sex and life in general.”  With elements of Gainsbourg and Cohen thrown in for good measure, Cocker cemented his place as a cultural icon in the U.K. and with fans throughout the world.

Six years from the last Pulp album and two years on from his first solo effort, “Jarvis,” Cocker’s sophomore album was produced by Steve Albini (Pixies, Nirvana, Stooges, Jawbreaker) and recorded in Chicago with his touring band, which includes Pulp’s Steve Mackey on bass. The album’s opening songs (the title track, “Angela” and “Pilchard”) find Cocker in uncharted territories, with heavy chugging guitars, raw production, sparse lyrics and, dare we say, ’70s stadium rock chorus and riffs.”  Did working with Albini induce Cocker to flex a relaxed muscle or two? Perhaps.

The rest of the album takes a more familiar path. “Leftovers,” “I Never Said I Was Deep,” ” Hold Still,” “Caucasian Blues” and “Slush” all show Cocker’s”  brilliance as a song writer with rare wit, intelligence and passion.”  Clever heartfelt lyrics have always been a byproduct of Cocker’s talent and thankfully, nothing has changed.

For those among us that lived and died with each album his former band (yes, they are still on hiatus, right?) put out, the closing song, “You’re In My Eyes (Discosong)” is the real treat that could easily fit on “This Is Hardcore.” It’s a tale of a small-town disco, mid-week, filled with despair and desperation and not letting go.”  Built on Barry White-esque bass lines and percolating guitars, accented by”  sleazy soft horns, backing singers and Cocker repeat “dancing until the dawn/ ‘cos I don’t want to lose you again,” and it seems like the perfect ending”  as the disco hallucination plays us out. Recommended.

– By Lawrence Gjurgevich