We Need More Pulp in Dangerous Times

 

We Need More Pulp in Dangerous Times by Tosh Berman

I'm With Pulp, Are You? by Mark Webber

 

I'm With Pulp, Are You? by Mark Webber

Pulp: This is Hardcore by Jane Savidge (33 1/3 Books)

 

Pulp: This is Hardcore by Jane Savidge (33 1/3 Books)

Tosh Berman on Suede

 

Tosh Berman on Suede

The Albums That Were Important To Tosh in 2001

 

2001 was the start of the 21st century, and it wasn’t a good way to start off the new season if you get my drift. I have been OK, but overall, it’s the downfall that continues and never ends. 9/11, Iraq War, American torture, Bush era, Obama unable to shift the bad mood, and then Trump and the virus to top it all. Still, the year 2001 had some odd and strange albums. And I only listened to these albums when they came out. Pulp’s “We Love Life” is orchestrated perfection with flourishes of darkness. Produced by Scott Walker was a listener’s addiction. 

What I discovered that year was the ‘hype’ band, or whatever they were, Fischerspooner. Electro-pop, but with a strong visual aspect, and I first heard of them because they played in a gallery.  I even saw them, but I have very little memory of their performance for some reason. To me, they are very vague, yet, I played their first album a lot. And they even did a Wire cover!  I also discovered Jim O’Rourke that year, and my first album of his was “Insignificance.” Now here was a rabbit hole I could jump into. I love Jim’s sense of playfulness, but serious at the same time. His music is almost impossible to realistically define, but such an adventurer still made an impression on me. Also, his presence in Tokyo was very strong. I ran into this album in many record stores in the Shibuya and Shinjuku areas of the metropolis. 

The one album that totally knocked me out is Fantomas’ “The Director’s Cut.” This was my first step into the Mike Patton world, and I was thrilled to hear them covering film theme classics. Exceptional taste, and done in a bold and in-your-face manner. How could I not resist!

Albums That Were Important To Me in 1997

 

Economically, I live in two states: we have money, or we have no money. In 1997, we had enough money for a down payment for a house. For the first six months or so, we spent our time looking for a house to buy. Twice a week, we would tour stranger’s homes to find that perfect combination for a place for us to work, live, and hide away from the world. Work and live, yes we saw the world was very much just outside the front door. Still, we were going to Japan back and forth to visit family, a trip to London as well. Around this time, I decided to start up a press of my own, TamTam Books. I became obsessed with Boris Vian and became his American publisher. 

Beyond that, I was haunting down CD-singles from Pulp because they had the most astounding remixes of their music. Their album “This Is Hardcore” is a masterpiece. It is a point-of-no-return type of record. Senior swingers, the decaying of life, and one had to “Party Hard” to get through middle-aged life difficulties. Everything about this album is perfection as practiced as an art. 

The other albums that impacted me that year are Tindersticks’ “Curtains,” which contained their sophisticated approach to orchestration and life. Again, it reminds me of Cave and the Bad Seeds, but with a more sophisticated approach to their subject matter, which is broken romances. The album also has a duet with Anne Magnuson. Blur’s “Blur” is an album of not turning back as well. Here they embrace a much stronger vision of an inner-world of some demons. I heard “Beetlebum” in Japan, and I thought this is one of the most remarkable songs ever. I loved the slow built-up, that reminds me of a Lennon Beatle-era psychedelic song if they had Jimmy Page in the band instead of George. A terrific album as well. 

Bowie’s “Earthling” continue to embrace the new electronic sounds of England, and although not as ambitious as his previous album “Outside,” it still had great songs on it, such as the classic “I’m Afraid of Americans.”  The one album that I found endearing and knowing that this will be the last time I will buy his work is John Lydon’s first solo album, “Psycho’s Path.”  There is a track on it called “Sun,” which is terrific. I think it’s up there with the best of the original PIL albums.  1997 was a significant change for me, and I think the albums above also expressed a shift. Brit-Pop was still around but turning sour in a very interesting manner.

Albums That Were Important to Tosh in 1995

 

These six albums were a significant find for me in 1995. Scott Walker's "Tilt" is a masterpiece. They are basically sound pieces with singing. And the lyrics were on another level as well. There was no going back home after this album. It took no prisoners. Bowie with his "Outside" project was also his first real avant-pop album. There are the Side B recordings from "Low and "Heroes," but this was very much a forward approach to music from David, Eno, and others. I was so excited to hear this album, and I wasn't disappointed.

I discovered Pulp's "Different Class" while crossing the Shibuya Tokyo Station. There was a giant video screen on the side of the building, and they were playing the video to "Common People." I immediately went over to the HMV music store to hear the album. It was love at first listening. The lyrics, Jarvis's voice, the musicians, arrangements, and the superb production from Chris Thomas, this is an instant classic.

The Tindersticks' second album was a beautiful relationship between orchestration and voice. It reminds me a bit of The Bad Seeds, but more soulful.

The first Elastica album was another opening to the current British world, and I remember loving this album. The same goes for Tricky's first album, which introduces me to a mixture of dark sounds with rap. The combination of the sound of dread, mixed with Tricky's moody vocals and the sweetness of Martina Copley-Bird's singing, was an incredible mix. I love how he embraced the experimental with the low-level groove. 1995 was an excellent year for music.

Albums That Were Important to Tosh in 1994

 

1994, I think I left Beyond Baroque and started to work full-time at Book Soup. And I stayed there until 2012. Having Tower Records across the street from the store got me into the music world again. I'm still buying reissues of Gainsbourg and started to obtain a strong Boris Vian fixation. Still, it was British music that made an impression on me. Portishead, I think, similarly hit everyone: DJ-related, Noir sounds, and bluesy, with a strong movie soundtrack feel. I loved their sound and the sense of a dreamy landscape in front of me. Pulp was another discovery that year. "His 'N' Hers" captured that kitchen sink feeling of British literature, cinema, and theater. Jarvis Cocker and company had such a strong character that comes through their music. I also loved the painted cover portrait of the band. Frank Black's second solo album, "Teenager of the Year" (I love that title), I think, is a remarkable work. I think it has 23 short songs, and all of them had great depth for me. Divine Comedy returns with an album with a great song, "The Booklovers," which lists every author and just a remarkable piece of baroque-pop. I was impressed with Morrissey's "Vauxhall and I," which is a remarkable piece of work from the grump king. If you look back on 1994, I think most contemporary music lovers will find something totally satisfying—a strong music year.