Pulp's More: a review

Nearly 30 years on from the monumental Britpop movement and the career-defining Different Class, 24 years since their last album and following the loss of long-standing bassist Steve Mackey in 2023, Pulp have returned with gifts: a tour and an album. The band seem rejuvenated after their almost quarter-century break, and this album stands to test the now much matured version of the band. 

More, released on 6^th June this year by Rough Trade Records, taking just 3 weeks to record, marking a fresh start for the band, a new label, and a new album. But the question remains, is this album more clever, exciting and witty Pulp, or is it more of the same, a reanimated band, clawing at a new life of renewed relevance? 

The singles are shining examples of Pulp songs. “Spike Island” is the smartest lead single and opener, unleashing Pulp’s indie prowess and disco influences strongly with enticing slide guitar lines and synth, setting out the band’s optimistic outlook for the album —they’re back where they want to be — Cocker declaring ‘I was born to perform, it’s a calling.’ The second single, “Got to Have Love,” (written prior to their breakup) sounds like a festival favourite, with its catchy chorus and dramatic yet simple solo being reminiscent, but far from the same heights, of their greatest hit “Common People.” While “Spike Island” is the better of the two, both singles prove that the band are still proficient hit-makers and are not afraid of taking risks in their work. 

James Ford’s production on the album really brings out the detail in the instrumentals of each song; Nick Bank’s drums ring through the mix with great clarity and purpose, driving songs like “Grown Ups” - musings on the tirade of adulthood - or the surprisingly powerful climax of “Slow Jam.” Throughout the record, Cocker and Webber’s guitars sound utterly perfect, whether it’s the 60s spy ska-like “Tina” or the intense, dirty riffs of “My Sex”; the production manages to retain the Pulp feel while feeling modern.

However, one thing that is sorely under-utilised on the record is the iconic keyboard sound of Candida Doyle. Whether buried in a mix or substituted with an orchestra, Doyle’s keyboards from “His n Hers” is sadly not as present on More as I would have hoped, though when there, it is superb in composition and sound. Cocker’s vocals are noticeably aged, though the reedy frontman holds his impressive range: age has not diminished his capabilities at all. Sadly, many of the songs feel lacking without bassist Steve Mackey’s dance-influenced expertise, with only “My Sex” having a truly memorable (or audible) bassline. 

Jarvis Cocker’s typical sultry and witty writing style remains intact after all these years with the expected songs about sex and romance, like on album highlight “My Sex”: ‘I haven’t got an agenda, I haven’t even got a gender.’ But the album also contains more seasoned and adult (not like that!) writing, such as the contemplative closer “A Sunset” or “The Hymn of the North” - an ode to home about remembering your roots. 

Pulp have certainly delivered more of what was to be expected from them when it comes to standards, while also managing to create an enjoyable, fun and intelligent record, treading new ground musically and lyrically without straying too far from what they do well. They did this successfully enough to have been deservingly nominated for the 2025 Mercury Prize. Standout tracks include: “Spike Island”, “My Sex” and “Partial Eclipse”.

Cover image courtesy of Rough Trade Records.