Hyundai Mercury Prize

Week 24: Pulp- More

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Before their stroke of fortune of being bumped up to Glastonbury headliners in 1995, and of course, the success of ‘Common People, Pulp had been plying their trade for over a decade with little success. However, their rise from playing pokey venues in Sheffield to performing in stadiums, and of course, being on the iconic 1996 Knebworth Oasis gigs, shows that with a little patience, you can get to where you want to be. The band finally found their home in the 90s, thanks largely to their counterparts Oasis making indie rock cool again. Jarvis was seen as an elder statesman of the scene despite still being relatively young in his early 30s. The band emerged from post-punk in the 1970s and began with a teenage Jarvis Cocker inspired by David Bowie, and Roxy Music formed the band in 1978 using the original name Arabicus Pulp. The band flirted with various sounds and had frequent lineup changes while trying to search for their identity that began to take shape in the late 80s.


Before the hedonistic days of the 90s, the band, despite their indie status, had a strong connection with their fanbase, which remained small but loyal. They released several singles and albums that explored themes such as adolescence, boredom, and sex, all tinged with melancholy. Interestingly, tracks like ‘Babies’, now a regular feature in their setlists, were born during this period, showcasing frontman Jarvis Cocker’s storytelling talent, lyrical prowess, and knack for crafting a hit that vividly depicts life in Sheffield and his time at St Martin’s College in London, where the iconic ‘Common People’ story began.


Then came the breakthrough years in the 1990s. Jarvis had changed the lineup during the mid-80s and brought guitarist Russell Senior, keyboardist Candida Doyle, drummer Nick Banks, and the late bassist Steve Mackey. Pulp finally found their wall of sound that would bear fruit in the following decade. That sound would include glam rock, art-pop, and lyrical storytelling, all delivered with charisma by frontman Jarvis Cocker, the band’s founder in 1978.


The band’s 1992 single, ‘O.U.’, marked the beginning of their success and appealed to a broader audience. This success paved the way for their 1994 album “His n Hers”, a collection of songs that featured relatable storytelling. Popular songs such as ‘Do You Remember the First Time?’ let the audience feel a personal connection to the band’s music. This is where frontman Jarvis, a witty storyteller, arrived, further enhancing the emotional connection between the band and their fans.
“Different Class” followed a year later, and this is when things really took off for the band. ‘Common People’, which had a dig at the class divide, was fast becoming a frequently played song and evolving into an anthem for the band. ‘Disco 2000’ and the controversial ’Sorted for E’s & Wizz’ showed Jarvis’ witty and comedic storytelling over unforgettable melodies. The album would beat Oasis, among others, for the Mercury Prize in September 1996. It is also worth noting that their fan club president, Mark Webber, joined them as a guitarist/keyboardist in 1995 when they commenced recording the now legendary record.


Guitarist Richard Hawley became a touring member in the late 90s and early 2000s. The band appealed more to the misfits and quiet ones compared to the brashness and laddishness of the Oasis fanbase.


If you are new to Pulp, I would start with the iconic “Different Class”, but after, give “His n Hers” a listen to experience Jarvis’s lyricism with the band’s raw energy. You will realise why Pulp, even during their hibernation, has always been relevant in music conversations. Jarvis’ lyricism is like the poetry of everyday life accompanied by instrumentation. It also shows why they are still adored internationally—enough of the introduction. Yes, I could have mentioned the indie rock departure of “This is Hardcore”, but I was in danger of boring you. So, let us move on to the long-awaited record.


Pulp has finally completed its eighth album after a gap of twenty-four years between 2001’s “We Love Life” and now. It is also, sadly, the first record without their bassist, Steve Mackey. Although “More” addresses middle age daily life, compared to their iconic 1995 album “Different Class”, Pulp has not lost the magic that made them so popular in the 1990s.


From wanting to be noticed in their heyday, this album is more based on nostalgia than in the future. There are two tracks where enigmatic characters appear in ’Tina’ and ‘Grown Ups’ who seem to be individuals from Jarvis’ past.


Do not be fooled by the notion you are just listening to songs because with Pulp, it is more than merely instrumentation with nonsensical lyricism. The songs have always been poetic lyricism, and this record is no different. The tracks all formulate a meaningful story; sometimes, Jarvis delivers these in spoken word. Be it through the interludes or breakdowns during the tracks. Pulp is not aiming for chart success with “More” but is looking to structure the songs however they see fit while keeping the listener interested with the storytelling over various genres. This is not your typical pop-friendly album.


Despite not aiming for chart success, the band maintains a unique and unmistakable identity firmly embedded in their record. Each element contributes to the band’s distinct style, from Nick Banks’ driving drums to Mark Webber and Candida Doyle’s elan and Jarvis Cocker’s exemplary storytelling and witty lyricism. The band’s dynamic combination of these factors, however, is what truly excites and engages the audience.


The album explores several phases of human emotion. ‘Got to Have Love’ is what I would describe as a Smiths/Oasis/Killers song laced with melancholy over uplifting instrumentation. In this case, it is more indie-disco, like a fair few of their hits were in those heady days. ‘Farmers Market’ swings the mood with a romantic story encased by a piano and violins to bring it to life.


’Spike Island’ opens the record with a short, amusing story, setting a feel-good tone. ‘Hymn of the North’, the penultimate track, is a heartfelt tribute to their beloved Sheffield. The closer ‘A Sunset’ wraps up the album on a note of tranquillity, leaving you calm. Unfortunately, I haven’t had the chance to listen to the bonus track ‘Open Strings’ to see how it might alter the album’s ending. The verses in ‘A Sunset’ resemble the late Johnny Cash’s rendition of ‘Hurt’. Whether this was a deliberate homage from Jarvis or a happy coincidence, I can’t say.


“More”, for me, has something for everyone. It is not based in one genre. The lyricism and storytelling are outstanding, and I am excited about what comes next because it was worth the twenty-four-year wait. Despite the tragic loss of Steve Mackey, the band has not lost their touch, aided by their old friend Richard Hawley. Pulp is in rude health, and the impending tour will be fantastic. The magic is still there; they deserved to be at the top of the chart. Form is temporary, but class never fades.


Song recommendations: ‘Farmers Market’, ‘Hymn of the North’. ‘Got to Have Love’


9/10

Week 36: Olivia Rodrigo- GUTS

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I fucking loved Olivia’s debut, “Sour”(Or is it “SOUR”?). She is different from your usual music star in the charts. She has plenty of fucking attitude and is unapologetic about it. Her debut was outstanding, and that punk spirit and it was definitely refreshing to see the singles chart shaken up by this angry lady. 

She certainly isn’t your usual Disney Kidz star. She doesn’t give a fuck what you think about her. She swears profusely, has a punk spirit, and loves to rock out. “GUTS”, the follow-up to “SOUR”, makes that album look tame. Olivia cranked the amps up to 10, and her attitude and opinions. Like every record, there is a lull and softer moments, but she does go tonto for most of the album. She isn’t here to please her label boss but to tell you her life with no holds barred. She doesn’t give a fuck about being commercially viable. This record is indie to how a label wants their musicians to be.

Olivia grew up listening to her parent’s music collection, which consisted of grunge and rock, and she has incorporated that into this album, but with subjects of dealing with fame, relationships, and other teenage angst topics. I fucking love the opener ‘All-American Bitch’. You hear an acoustic being plucked at the intro and verses before it fucking explodes in the chorus as well as her vocal volume and attitude. The electric guitars add to that effect. I also loved the solo.

‘Ballad of a Homeschooled Girl’, which resembled ke$ha-like songs. You have softly spoken verses; occasional rapping with big choruses is another highlight. As mentioned, there are quieter, more reflective moments, but do not lack the angst featured on the full-in rock tracks. She even shows insecurity about her appearance on ‘Lacy’, an acoustic track, and confesses about being envious of what others see as “Perfection”. The soaring vocals bring that out. As gloomy as it is, ‘Making the Bed’ reminded me of that dream pop sound that we associate with Katy Perry in the late noughties and early tens. Like ‘All-American Bitch’, ‘Vampires’ starts softly with a piano rather than an acoustic guitar before synths and guitars hit you by surprise.

I was slated for rating “SOUR”, but fuck you. This girl is so versatile in her writing. She writes full-on rock tracks to tender piano ballads, and the vocal delivery convinces you every song means everything to her. Her lyrics, at times, also add an element of sarcasm and comedy.

This record is like a person with schizophrenia. One minute, it is full-on, then tame, and then full-on again, repeating a spontaneous tempo. In musical terms, it’s like having iTunes, iMusic, Tidal, Spotify and Deezer on shuffle. You never know what’s coming. Despite that, every record should have heavy and reflective moments. It shows the songwriter’s versatility as well as showing they are human.

Besides the Reytons, the Lathums, Frank Turner, Noel Gallagher’s High Flying Birds and Foo Fighters, the album chart lacks records that spark energy into your ears. Olivia has come along and made the album of the year that deserves to be nominated for the Mercury Prize next year. I wonder if this album will be number one next week. The album chart hasn’t had a mainstay this year yet, and the way music is these days, I don’t expect “GUTS” to break that but fuck me. It is a fantastic yet schizophrenic album. Olivia is a different breed to the new age pop star, which is a breath of fresh air. Another fucking monumental record. We need more musicians like this in the singles chart instead of nodding puppets for the label bosses.

Song recommendations: ‘All-American Bitch’, ‘Making the Bed’, ‘Ballad of a Homeschooled Girl’

9/10

Week 31: Dave- We’re All Alone in This Together

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Another artist I saw on Later…with Jools Holland, but that caught my eye more than usual. Dave is a rapper and a spoken word artist, which is what I happen to do. These kinds of artists are rare to see on mainstream television, so I was delighted to see him on there. He and George the Poet have been the best-spoken word artists on the show of late. I was also very encouraged when Dave’s debut album hit the top spot because it meant that spoken word now had a platform for bigger and better things, rather than just medium-sized venues with modest audiences. 

Moreover, his debut album, PSYCHODRAMA, earned a Hyundai Mercury Prize in 2019—an incredible achievement for a spoken word artist. Could Dave better that this time around? That’s a hard act to follow. I am pleased to inform you that Dave didn’t fall under the immense pressure bestowed on him. This record isn’t just for those who understand the struggle; there is also a universal message. Dave often goes after the Conservative and Unionist Party and its current and former leaders. From immigration, racism, and the Windrush scandal. Indeed, Dave talks about being raised in London, proud of his Nigerian roots, and paying homage to his ancestors. I love how Dave is fearless in addressing the history of Britain that is seldom spoken about in schools. It is a shame it isn’t because it isn’t as pretty as Dave paints for you on the album. Indeed, he does a track with Stormzy where they call out the state of Britain since leaving the European Union and the failings of the current government. They also have “Jeremy Corbyn won” in the chorus, supporting the former Labour Party leader and making it clear that he would have been the better choice in their opinion.

‘In the Fire’ features Giggs and Ghetts over a gospel beat. He then talks about the Windrush generation on ‘Three Rivers’ and how they are now being mistreated by the country that they have contributed heavily to and done a lot of good for Britain but are currently being treated like shit due to racism peddled in the right-wing press. However, my favourite is the longest track on the album, ‘Heart Attack’. Dave addresses knife crime, racism, and how the metropolitan police profile certain people. 

Indeed, Dave says Scarface and its lead character Tony Montana are praised because he is white. Still, when it comes to a black individual depicting a similar role in a film, the press says how appalling it is and glorifies violence. I loved this outlook by the man known as Santan Dave, and unfortunately, it is true. It is always films with black individuals that get the bad press. Indeed, this is reflected in the aftermath of Marcus Rashford, Jadon Sancho, and Bukayo Saka missing penalties for England in the recent European Championship final against Italy. All three were racially abused and received death threats for being human. To my horror, I saw an online poster calling for all white people to “Attack a Black” the following day. It was worse than that, but you don’t need to be a genius to work out what the poster said. There was a points system as well for the forms of attack. It is fucking abhorrent that this shit still goes on and that after a specific referendum in 2016, it has emboldened racists to now do it with minor consequences. Just look at the fucking right-wing twats who are currently on television. It is disgusting. We all live under the same sky and should try to get along with each other regardless of our skin colour or religion.

Dave closes the record on a reflective note about how he has let himself and others down with his past behaviour on ‘Survivor’s Guilt’. Dave acknowledges that the press has highlighted his actions outwith his music and that he will learn from his past mistakes and become a better role model and better to Black women. This album is brilliant, and I loved how he didn’t hold back over several issues that need a light shone upon them. Look for “We’re All Alone in This Together” among the Hyundai Mercury Prize 2021 nominees. This is better than PSYCHODRAMA.

Song recommendations: ‘Heart Attack’, ‘Three Rivers’, ‘Survivor’s Guilt’

9/10

Week 24: Wolf Alice- Blue Weekend

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My introduction to Wolf Alice was either in 2013 or 2014 on Later…with Jools Holland, and their punk attitude with a hard rock sound caught my ear. My favourite track of theirs at the time was ‘Moaning Lisa Smile’ (It still is funnily enough. I love the energy oozing out of it.)I can’t recall if they played that one on Later or if I heard it live at a festival, which made me fall in love with that track. Then, in 2018, they released “Visions of a Life”, which featured such tracks as ‘Beautifully Unconventional'(My favourite off of that record) and ‘Don’t Delete the Kisses’. They would receive a Hyundai Mercury Prize nomination in a strong field that featured the likes of Noel Gallagher’s High Flying Birds 2017 and third album “Who Built the Moon?”. The judges who voted chose “Visions of a Life” as their Hyundai Mercury Prize winner in 2018.

Ellie sang beautifully that Sunday night as they performed ‘Don’t Delete the Kisses’. Could Wolf Alice follow up on their Hyundai Mercury Prize-winning album? Some have failed, like the Klaxons and Gomez. The band had their work cut out this time to meet expectations.

However, Wolf Alice accepted the challenge of bettering “Visions of a Life” by employing the services of Markus Dravs, the man responsible for helping Arcade Fire redevelop their sonic outputs as well as Florence and the Machine. Many called this a bold move by Wolf Alice and a surefire signal of their intent; it proved just how brave they were to take a risk on this album and take them another step closer to more accolades.

What is brilliant about this album, and with such a great producer as Markus Dravs on board, is that the album becomes eclectic. If you are trying to understand what that means (Of course, the connoisseurs can sit this part out.), the album in question doesn’t just stick to one or two particular genres but visits a multitude of genres. Some might argue that this is a dangerous precedent; for example, Paul Weller’s “Fat Pop Volume 1” was released last month. Some have criticised that record for being too schizophrenic with how it utilises several genres, but that makes a great album to me. Yes, of course, it is also lovely to listen to a record locked on one or two genres, but the beauty of an eclectic album is your ear doesn’t know what to expect next (Well, on the first listen, at least.),so I applaud Wolf Alice for going in this direction. In the next paragraph, I will describe the various bands/artists I heard within the record.

Funnily enough, I contacted Ellie Rowsell on Twitter as I got to the final track and gave her my thoughts on “Blue Weekend”. I told her I found it dreamy and could hear the XX, My Morning Jacket, Lana Del Rey, Amyl and the Sniffers, Keane and the Temper Trap. That’s how vast sonically the album is. You have tracks such as ‘Play the Greatest Hits’, full-on punk, and you can hear Amyl and the Sniffers there. I mean, literally. If someone listened to this on a blank CD or sent you an untitled file, you would think it was an Amyl and the Sniffers track. ‘How Can I Make it OK’ is a rock ballad, then ‘No Hard Feelings’ is out of the Keane catalogue with its melchanolic sound, lyrics, and keys that Tim Rice-Oxley is synonymous with. The opening track,’the Beach’, is very dreamy and something the XX would do. The track makes you visualise being on a beach as the waves crash gently upon the shore.

‘Delicious Things’ has to be one of the standout moments because it is autobiographical to Ellie Rowsell’s life. In this, she addresses suffering social anxiety and being homesick while in Los Angeles, sleeping with a shady character who only seems attracted to her because of her status as the bandleader and taking drugs when others around her in Tinseltown are. Ellie describes the LA experience to the last detail with utter accuracy.

‘Smile’ is just Ellie telling you what she thinks of your views if you don’t like hers, and she does as she pleases. ‘Play the Greatest Hits’ will sound great live, too, with its full-on punk energy. This one will be great for the tour whenever permitted to commence.

‘No Hard Feelings’ brings the energy levels down on this break-up song with Ellie’s soft vocals, which has an excellent reference to the late Amy Winehouse by including her song title within the lyrics.

‘the Last Man on Earth’ is where the production of Markus Dravs starts to pay off. The track builds slowly from what appears to be a piano ballad but then builds to a grander sound as it progresses. It’s another track that will sound great when the album is taken out on the road.

“Blue Weekend” is a brilliant record with several genres packed into just over 40 minutes of listening. It’s the kind of album you won’t just listen to once or twice but the kind you will want to hear repeatedly. It may be a departure from previous material, but this is their best art to date. As the record ends on the dreamy ‘the Beach II’, your mind starts to wonder whether they will once again receive a Hyundai Mercury Prize nomination because this album is up there with “Visions of a Life”, if not even better. However, the record aims higher than just a Hyundai Mercury Prize. Look out for “Blue Weekend” at several highly regarded music award ceremonies within the following year.

Song recommendations: ‘Delicious Things’, ‘No Hard Feelings’, ‘Play the Greatest Hits’

8/10

Week 40: IDLES- Ultra Mono

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I remember a lady talking to me about great music acts out of Bristol, and funnily enough, she was a Bristolian. And I hadn’t heard of them then, but she asked if I had heard of IDLES. To which I replied, “No”. Anyway, she recommended that I listen to them as they are very much the Sex Pistols of the 21st century. It wasn’t long after that conversation; in fact, a mere few hours later, they were making their debut appearance on Later…with Jools Holland, so naturally, I was always going to give them a listen. I remember they played their pro-immigrant song “Danny Nedelko”, which also happens to be a friend of theirs from Poland. I can’t remember the name of the other song at present, but it was about a dad telling his son to be macho and stop moaning about how he truly felt. The next thing I knew, they were nominated for the Hyundai Mercury Prize and performed “Never Fight a Man with a Perm” at the ceremony. I didn’t think much of their lyrical content, but the energy they created with the music could have caused the world’s end (You know what happens in Akira when Tetsuo goes mental?). They spent over a decade in the underground scene before finally getting their break two years ago, so when they released their latest and second album, there was more of a fanbase that they built up mainly on the festival circuit.

Now, there appear to be many ready to shoot the band down and have nothing but contempt for them because they like to stick up for the people and attack the establishment at every turn, but once again, they have shown they don’t fucking care what their critics have to say and have decided to be even more controversial on this record with their political opinions, which I loved. If you follow me on Twitter or whatever, you will know I dubbed the album  “Energetic Rebellion”; that is precisely how I would describe it in short.

“War” and “Grounds” are just the beginning of the band’s assault on the political spheres, and Joe screams on “Grounds”, “Do you hear that thunder? That’s the sound of strength in numbers”. From that alone, you can see the band already calling their listeners to rise and attack the establishment.

On “Model Village”, they attack nationalism and even lay into the current government and their cowardly leader. It is my favourite off “Ultra Mono” just for that reason alone. I fucking despise the current government and the prime minister too.

“Anxiety” is another brilliant track off the album and gets even more political. These lyrics stand out and grab your attention “Our government hates the poor, cold leaders, cold class war, keeping drugs you can’t afford, so the poor can’t buy the cure.” in “Reigns”, the band accuses the government of selling the working class down the river with their bullshit over a bullshit referendum that happened in 2016. The instrumentation and production on most of the record sync perfectly with Joe’s passionate and aggressive vocals.

I can’t remember a calm moment on the album, save for “Kill Them with Kindness”, which starts with a lounge Jazz piano but then launches into an attack on the royal family and so forth. “Seize the Day” is another track that talks about chasing pricks away who threaten humanity.

Although the lyrical content is minimal, what it does offer is utter honesty on the political sphere and how the band couldn’t give a fuck if you hate their anti-establishment opinions. You can see why they have gained a rather large following with these views and hard-hitting punk with their songs that are bound to create mosh pits at every venue or festival they are at. I thoroughly enjoyed it.

Song recommendations: “Model Village”, “Anxiety”, “Grounds”

8/10