NOSTALGIA, RETRIBUTION AND HOPE | PULP DELIVER SO MUCH ‘MORE’ ON THEIR NEW ALBUM
ALBUM REVIEW | PULP – MORE by Anne Kelly
MORE. The album we didn’t have on our 2025 Bingo card, but the album we absolutely needed. It’s been 24 years since generation defining britpop pioneers Pulp last released new music with 2001’s We Love Life, an album which never met the same commercial gain as it’s predecessors; 1999’s This Is Hardcore and their 1995 breakthrough A Different Class. Appetite for new Pulp has been manifesting ever since they reformed in 2023, and whilst fans have been drunk of the nostalgia since, Pulp in 2025 is something still to be desired.
Full disclosure, I am a huge Pulp fan, so it should be of no surprise that I approach More with rose tinted glasses, but it’s not without any critique. In the wider frame though, what Jarvis and co. did for the Britpop landscape was arguably more poignant than some of their more alternative peers. Pulp excelled in providing sharp observational commentary on a burgeoning culture that defied traditional norms, pushing boundaries in creativity, eccentricity, and sexuality. With his trademark dry yet seductive gravel, Jarvis Cocker was, and still is, exceptionally irresistible.
Back in April, we were treated to our first glimpse of More and it delivered everything we anticipated from Pulp and more (no pun intended!). ‘Spike Island’ serves as a nostalgic journey, capturing the essence of early 90s psych-pop intertwined with the rave-infused Britpop culture of that era. Like a sequel to ‘Sorted For E’s & Wizz’ it evokes memories of a time left behind.
It’s a strong start for the Sheffield icons, which continues down the nostalgia route with the dreamy ‘Tina‘ and I really warmed to the story behind this one. A true story, Cocker’s relationship with Tina existed only within his head, at a time where he lacked the confidence to pursue. Lyrically, it tells a very vivid story, Tina may hail from a different era, yet her presence feels remarkably real and relevant today. Kudos to featuring one of the greatest verses in a song ever too. Utterly bonkers, but this is the Pulp we know and love.
“Screwing in a charity shop
On top of black bin bags
Full of donations
The smell of digestive biscuits in the air”
It might come a bit late in the day, but More is a significant moment in Cocker’s own journey of self-discovery. Although he may be 61, his recent marriage to his long-term partner signifies a readiness to embrace a more settled life, and ‘Grown Ups’ epitomises this realisation. Tackling the monotony of monogamy, conformity and the daily grind (even another appearance from ‘Tina’), At its heart, ‘Grown Ups’ confronts the universal anxiety of ageing while simultaneously revealing that growing older can have its merits. The notion that the grass is greener elsewhere is debunked, yet the struggle to find a sense of belonging remains a poignant reality.
The initial momentum of More begins to fade as it progresses. While ‘Slow Jam’ touches on profound themes, often with biblical undertones, the drum and bass beat seems to overshadow its emotional weight. ‘Farmers Market’ may not grab attention immediately, but its ambient jazz waltz gradually captivates the listener. A nod to when he first met his now wife, ‘Farmers Market’ is about being more present in the moment whilst beautifully blending trance like arrangements with vivid lyrical imagery, resulting in an ethereal ambience. Culminating in a striking string crescendo, it marks a natural midpoint in the album.
Funky, androgynous, and alluring, ‘My Sex’ doesn’t quite deliver on the promise of its provocative title. However, with the flirtatious frontman’s enticing ‘oohs’, ‘ahhs’, and heavy breathing, it certainly has the potential to cause some arousal. Is this Cocker’s admission of identifying as bisexual or non binary? I’m not too sure to be honest, it seems more like a conceptual embrace of desire. With good use of idiosyncratic vocal play though, ‘My Sex’ highlights the meticulous composition of this album which deserves to be celebrated in its own right.
Many tracks on More may be new to listeners, but are not entirely new to the band, as several have been set aside for decades. The latest single, ‘Got To Have Love’ feels like a long-awaited continuation of ‘F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E’ from A Different Class, with Jarvis once again reminding us how to spell love. The frontman has recently opened up about his struggles with emotions over the years, acknowledging that while he writes about them, he hasn’t always been adept at expressing his feelings in real-life relationships. With a newfound sense of reflection and maturity, More marks a significant turning point in this journey. There’s a sense of completeness now, an acceptance of fate that deepens as the album unfolds.
‘Background Noise’ captures a bittersweet melancholy reminiscent of the This Is Hardcore era. I’ve never heard love referred to as background noise before, but it really hits, and Jarvis in all his talents makes a simple feeling feel as vital as breathing. The orchestration is grand and cinematic, featuring powerful synths that draw you in completely. Blending nostalgia with a poignant reflection on fading love, ‘Background Noise’ is an early favourite of this album.
The album’s conclusion maintains a grand finale atmosphere, with each track becoming increasingly introspective and heavily reliant on orchestration to evoke the intended mood. ‘Partial Eclipse’ transports listeners into a surreal realm reminiscent of Twin Peaks, featuring a hauntingly Lynch-inspired opening melody. This standout track effectively preserves its theatrical essence, showcasing Jarvis’s signature technique of breaking the fourth wall through spoken word interludes. These moments create an intimate connection, as if he is conversing directly with the audience, inviting them to explore a deeper psychological landscape within the music.
‘Hymn Of The North’ serves as a poignant reflection on the passage of time. Boasting a grand orchestration that lends it a theatrical quality, the track written for Cocker’s own son, carries swan song-like essence, like a passing of a torch, filled with hope. And if that didn’t hit you in the fuzzies, then grand finale ‘Sunset’ will leave you gasping for air.
A refreshing offering from Pulp, ‘Sunset’ was a product of Brian Eno’s EarthPercent initiative, where a presentation that saw Jarvis singing this song at the end. Written with Richard Hawley, ‘Sunset’ is in the same vine as 1971’s ‘I’d Like to Teach the World to Sing’, with the opening verse features the line, “I’d like to teach the world to sing, but I do not have a voice”. Even sonically, the exquisite combination of the song’s melody, the choir’s harmonies (provided by the Eno family), and the string arrangement truly sets this piece apart. Probably the closest we get to any social and political commentary on More, yet without overtly addressing any political themes in particular. Instead subtly weaving in observations that allow the listener their own interpretation.
More blends notes of nostalgia intertwined with themes of growth, retribution, and hope. It represents an abundance of experiences and emotions, and regardless of whether we anticipated it or not, Pulp still has something meaningful to say in 2025. For those expecting to relive the magic of A Different Class or His ‘n’ Hers then More isn’t going to replicate that, however, this revival not only reignites nostalgia for long-time followers but also introduces their artistry to a new generation, making it a significant moment in the music landscape. Pulp are back, and it never felt so good.
MORE is OUT NOW via Rough Trade with many exclusive editions and bundles available HERE.
Pulp head out on a UK arena tour this month, beginning in Glasgow on 7th June before performing a sold out hometown show at Tramlines Festival on July 25th
June 7th – Glasgow, OVO Hydro
June 10th – Dublin, 3Arena
June 13th – London, The O2
June 14th – London, The O2
June 19th – Birmingham, Utilita Arena
June 21st – Manchester, Co-op Live
July 25th – Sheffield, Tramlines Festival
