It was clear that
This Is Hardcore was a difficult, turbulent experience for
Pulp -- it was such a troubled-sounding record that it was hard to tell where they would go next. Apparently that was as true for the band as it was for the listeners, since
Pulp spent over three years preparing an album, cutting nearly a full record with longtime producer
Chris Thomas before scrapping it all and entering the studio with cult hero (and
Jarvis Cocker inspiration)
Scott Walker. The pairing was intriguing but problematic, since
Walker is not known as a producer and his recent recordings, such as
Tilt and
Pola X, were as inscrutable as
Cocker was lucidly literate. Miraculously, the pairing resulted in the vibrant, reaffirming reinvention of
We Love Life, an album that hints at music from
Pulp's distant past (it's much closer to
It than anything they've done since, though it has elements of the epics scattered through
His 'n' Hers) while finding a new voice for the band and
Jarvis as a lyricist. It's easy to see that this is a mature album, but that suggests a studied self-consciousness and safe, coffee-table artiness. This is maturation in a different sense --
Cocker has lived through dark times, as was evident in
This Is Hardcore, and still sees difficulty in the present and past (the haunting centerpiece of "Wickerman"), but here he embraces life, even seeing his place in the grand scheme of things. Previously,
Pulp's sleek music had been as darkly romantic as a drunken late night in a metropolis, and
Cocker's lyrics were wittily urbane, embracing and mocking the idiosyncrasies of contemporary life, but here the music is considerably more organic --
Candida Doyle's synth, a former signature, can barely be heard -- and
Cocker's elaborately detailed lyrics are trim and focused, filled with nature imagery. This is hardly a pastoral album, though, even with the occasional string section and acoustic guitars, nor does this sound like
Pulp's version of a
Scott Walker album. Instead, this is an emotional and musical breakthrough, finding the band leaping beyond the claustrophobic
Hardcore and consolidating their previous obsessions, creating a textured, reflective record that in its own measured way is as impassioned as
Different Class -- it's just that
Jarvis is railing against the impulses within himself, and he winds up finding a way out. As such,
We Love Life is warm and embracing, even when it delves into darkness, never nearly as despairing as
Hardcore, and nearly as affirming as
Different Class. And if that record was the mis-shaped misfit finally letting the world know that he was special, this is that same misfit turning inward, realizing that the world itself is special. Not the kind of thing that results in a massive hit, but it's tremendously rewarding all the same.