Pulp

Unlike most groups that either surge to immediate success before vanishing or methodically cultivate fans before ascending, Pulp pursued neither path. During the opening dozen years of their career the ensemble remained almost completely unknown, issuing several albums and singles across the 1980s that drew scant notice. Toward the end of that decade the musicians began attracting listeners, an unexpected development that transformed them into one of Britain’s leading acts of the 1990s. By the moment fame arrived, Pulp had already passed through repeated lineup changes and stylistic shifts encompassing nearly every indie-rock reference point from post-punk to dance music. Their hallmark sound blends glam-rock influences drawn from David Bowie and Roxy Music with disco, new wave, acid house, Europop, and British indie rock. Inexpensive synthesizers and expansive melodies mirror the preoccupations of lead vocalist Jarvis Cocker, who shifts between erotic themes and incisive, witty sketches of working-class outsiders. From recycled pop sources the band forged a singular, elegant style that turned camp into something opulent and captivating while keeping a tangible grounding in everyday reality.

Jarvis Cocker established Pulp in 1978 at the age of fifteen. Originally named Arabicus Pulp, the earliest roster comprised fellow students. After twelve months the name was shortened to Pulp. While still at school the musicians played occasional shows. They cut a demo around 1980 or 1981 and handed the tape to John Peel during one of his road appearances. Peel responded favorably and booked the group for his program. Pulp recorded their first Peel Session in November 1981. Far from securing contracts or stardom, the broadcast produced no immediate results. Discouraged by the absence of progress, all members except Cocker departed in 1982 to attend university. The following year Cocker assembled a fresh eight-piece lineup that included keyboardist Simon Hinkler, later of the Mission. In this configuration Pulp displayed clear folk accents alongside new-wave foundations. The band secured its initial recording agreement and issued the debut album It in 1984. The release made little impression, prompting another dissolution.

Once that second version of Pulp collapsed, Jarvis Cocker assembled yet another lineup featuring guitarist/violinist Russell Senior, who became Cocker’s first true creative partner. Cocker and Senior recruited drummer Magnus Doyle and bassist Peter Mansell, together with Tim Allcard, whose sole contribution was reciting poetry. The group moved away from the folk leanings of It after adding keyboardist Candida Doyle in 1985, resulting in a darker tone; Allcard departed soon afterward. In 1985 Pulp issued several singles on Fire Records. Just as prospects appeared to brighten, Cocker suffered a serious injury when he fell thirty feet from a window while attempting to impress a young woman, fracturing his pelvis, foot, and wrist. Confined to a wheelchair for two months, he nonetheless continued performing live.

Pulp’s second album, Freaks, appeared in 1986 as a dense, somber work. During the filming of the video for “They Suffocate at Night” the band fractured once more, with every member except Cocker and Senior exiting. The group remained inactive for a year until Candida Doyle rejoined in 1987; drummer Nick Banks and bassist Steven Havenhand arrived shortly thereafter. Havenhand was soon succeeded by Anthony Genn, who was in turn replaced by Steve Mackey. Although the lineup stabilized, audiences remained modest. In 1988 Cocker relocated to London with Mackey and enrolled in film studies at St. Martin’s College. While there, Pulp received an offer to record another album. The resulting Separations, tracked in 1989, reflected Cocker’s growing fascination with acid house yet also contained fully realized pop songs. The album surfaced nearly three years after completion. Cocker was contemplating a film career when the single “My Legendary Girlfriend” emerged in 1991. NME awarded it Single of the Week, instantly reviving the band’s momentum.

Early in 1992 Pulp departed Fire Records for Gift and issued further singles that built upon the attention earned by “My Legendary Girlfriend.” The track “Babies” in particular generated substantial interest and secured a contract with Island Records, the group’s first major-label agreement. Island released the compilation Pulpintro, drawn from the Gift singles, while the band prepared its major-label debut His ’n’ Hers. Upon its arrival in spring 1994 the album received favorable notices, unexpectedly reached the British Top Ten, and earned a nomination for the 1994 Mercury Award. Throughout the remainder of 1994 and into early 1995, Cocker became a frequent presence on British television. His poised and witty appearances turned him into a national figure and a sex symbol.

Despite Jarvis Cocker’s rising profile, Pulp did not reach the mainstream until the May 1995 release of “Common People,” which debuted at number two on the U.K. charts. In July the band accepted a last-minute headline slot at Glastonbury Festival after the Stone Roses withdrew; the performance was greeted with enthusiasm, propelling Pulp to superstar status in Britain and paving the way for the forthcoming album Different Class. During the recording of that album, guitarist Mark Webber—previously president of the band’s fan club—joined as a full-time member. The first release featuring Webber was the double A-sided single “Mis-Shapes”/“Sorted for E’s & Wizz,” issued in August and reaching number two despite tabloid objections to the lyrics of “Sorted.”

Different Class appeared in late October to widespread critical acclaim. The album entered the charts at number one, attained gold status within its first week, and platinum within the second. By year’s end it topped numerous best-of lists. In February 1996 Different Class reached the United States to positive reviews. The intense scrutiny surrounding the record shaped the darker, more anxious tone of the follow-up, 1998’s This Is Hardcore. Its brooding atmosphere and mixed reception prompted questions about the band’s future; members pursued side activities including club DJ sets and remixes for Black Box Recorder and Death in Vegas. They maintained a live presence, appearing at festivals including the Meltdown event curated by Scott Walker. Walker’s influence led Pulp to enlist him as producer after sessions with Chris Thomas proved unsatisfactory. The resulting We Love Life—its title prompted by the September 11 attacks—was issued in Britain in autumn 2001 and in the United States in spring 2002 to strong reviews.

In 2006 Cocker issued the solo album Jarvis. In 2022 Pulp announced a major reunion tour scheduled for 2023. Bassist Steve Mackey, who had already stated he would not participate, died on March 2, 2023, at age 56.