PULP - This is Hardcore Dbl LP w/ bonus Promo 12" w/ remixes Jarvis Cocker
$
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Description
2016 Re-Issue - comes w/ promo 12"
A1 This Is Hardcore (4 Hero Remix) Engineer, Sitar – Leon Mar Remix, Producer [Additional] – 4 Hero Engineer, Sitar – Leon Mar Remix, Producer [Additional] – 4 Hero A2 This Is Hardcore (Swedish Erotica Remix) Engineer [Additional] – X Davidson* Guitar – Michael Padilla Remix – Tipsy Engineer [Additional] – X Davidson* Guitar – Michael Padilla Remix – Tipsy B1 This Is Hardcore (Stock, Hausen & Walkman Remix) Remix – Stock, Hausen & Walkman Remix – Stock, Hausen & Walkman B2 This Is Hardcore (Original Version)
"This is the sound of someone losing the plot/you're gonna like it, but not a lot." So says Jarvis Cocker on "The Fear," the opening track on This Is Hardcore, the ambitious follow-up to Pulp's breakthrough Different Class, thereby providing his own review for the album. Cocker doesn't quite lose the plot on This Is Hardcore, but the ominous, claustrophobic "The Fear" makes it clear that this is a different band, one that no longer has anthems like "Common People" in mind. The shift in direction shouldn't come as a surprise -- Pulp was always an arty band -- but even the catchiest numbers are shrouded in darkness. This Is Hardcore is haunted by disappointments and fear -- by the realization that what you dreamed of may not be what you really wanted. Nowhere is this better heard than on "This Is Hardcore," where drum loops, lounge piano, cinematic strings, and a sharp lyric create a frightening monument to weary decadence. It's the centerpiece of the album, and the best moments follow its tone. Some, like "The Fear," "Seductive Barry," and "Help the Aged," wear their fear on their sleeves, some cloak it in Bowie-esque dance grooves ("Party Hard") or in hushed, resigned tones ("Dishes"). A few others, such as the scathing "I'm a Man" or "A Little Soul," have a similar vibe without being explicitly dark. Instead of delivering an entirely bleak album, Pulp raise the curtain somewhat on the last three songs, but the attempts at redemption -- "Sylvia," "Glory Days," "The Day After the Revolution" -- don't feel as natural as everything that precedes them. It's enough to keep the album from being a masterpiece, but it's hardly enough to prevent it from being an artistic triumph.
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