To celebrate the twentieth anniversary of the release of Pulp’s Different Class we asked people to do the same with some of Jarvis Cocker’s finest songs.

Jarvis Cocker’s lyrical genius, acerbic wit and perceptive eye are one of the elements that enabled Pulp to connect so well back in the nineties, and continue to transcend the vagaries of time to communicate with individuals so acutely.In his book Mother, Brother, Lover Jarvis (as well as acknowledging that his lyrics are ‘alright’) states that his songs are always about narrative. It’s the story that matters.

Songs may be a story about a character. The lyrics could be shrewd and perceptive observations that make a comment on life. Or they may be an interesting blend of words and phrases that trigger an emotional response in you. You may see a tale within the tune. Or one which goes beyond its final chords. Explore what happens to the character once the song ends. Take the title and spin your own fantasy from it.

Or something else entirely.

This is the result. This is Pulp Fiction.

It’s All Happening loved their socks, were rapt at the gifts of cheap aftershave, and utterly delighted with the sixth tin of Family Circle biscuits, but this post from Jarvis and the gang has got to top all the presents. The enviably lucky attendees of Pulp’s recent Sheffield homecoming show were were given Christmas cards with a download code for ‘a little present’ which was to be submitted to the band’s website on Christmas Day. Written in Jarvo’s satirical style, fans were instructed not to peak, as that would be ‘naughty.’
After You track was first demoed by the band during the sessions for 2001’s We Love Life, but this version is a new studio recording produced by James Murphy in the last couple of months, during their Coachella gigs. Plans for 2013 include ‘sailing off into the sunset.’ In a recent interview with Q Jarvis Cocker concluded that whilst ‘we’ve played for a while and it’s been really good…you can’t keep doing that forever.’
Until next time, we’ll take After You and be estatically grateful. Ta, guys.

Photo via Bar Italia

Albums we’ve loved

Veronica Falls – Veronica Falls
Almost exactly 18 months ago we interviewed a little known band called Veronica Falls in which they talk of their distaste for ‘labels’, ‘scenes’, ‘genres ‘, ‘tweeness’ and pretty much anyone or anything that tried to define or pigeon-hole them. Fair enough. They also talk about their plan for an album…and well, basically a lack of one. Fast forward 18 months and they’re headlining stages at Field Day, touring across Europe and the US and recording their debut album twice, scrapping one and re-recording the finally released version in 3 days. Who knows what that original version sounded like, but however bad they thought the original recording was, nothing can hide the sheer quality and variation in their song writing . From the perfect pop song clout of Stephen, the melodic roundabout of The Fountain, to the shadowy punch of Bad Feeling and the anthemic Come On Over, each track on this album delivers. There’s a layered craft to each and every song, from the harmonised vocals to the interweaving guitars, that makes this a truly brilliant album. Just don’t mention cardigans to them.

Elzhi – Elmatic
Here is an example of a clever concept that evolved into something far greater. A tribute to Nas’ seminal 1994 album Illmatic, Elzhi moves the scene from an oft-romanticised New York to a gritty Detroit, where shots go off at the funniest hours (Detroit State of Mind). El’s stark imagery cleverly references Nas’ phrasing but stripped of any glamorisation of project life, calling the hood a glasshouse the devil throws stones through. However, there is light amidst the shade. Memory Lane cheekily reminisces about being back in junior high ‘with your report card/Trying to make a B out of the letter F,’ and One Love is a touching tribute to ‘El’s girl who cooked me hot meals/Helped me when I got bills.’ Best of all, Will Sessions’ lush arrangements root the tracks in the rhythm and blues of Detroit’s own Funk Brothers, meaning that more than a simple tribute, Elmatic is one of the finest hip hop albums of the decade so far.

Grouplove – Never Trust A Happy Song
The sounds of a summer, toes wriggling in grass, beers bubbles cracking on the tongue, cheap wine at the side of bonfires, a moment of drunken epiphany shared with friends. The equivalent of a sherbet fountain – all fizz, fun and fiasco – but with the reality hit of liquorice that stops it all from being too saccharin and suggests these guys actually mean it. Never Trust A Happy Song They Say – with the euphoria evident in this trip of an album, this is contender for most dishonest album of the year. Love it.
Other long players that have  rocked It’s All Happening’s world this year include:
Summer Camp – Welcome To Condale
Elbow – build a rocket boys!
Feist – Metals
Fleet Foxes – Helplessness Blues
Pharoahe Monch – W.A.R. (We Are Renegades)
Radiohead – The King of Limbs
The Streets – Cyberspace and Reds
Tom Waits – Bad as Me
Big K.R.I.T. – Return of 4Eva
James Blake – James Blake
Bon Iver – Bon Iver
Kate Bush – 50 Words for Snow
Death Cab for Cutie – Codes and Keys
The Weekend – House of Balloons
Wild Beasts – Smother
Pete and the Pirates – One Thousand Pictures
Lanterns on the Lake – Gracious Tide, Take Me Home
Metronomy – The English Rivieria
Deer Tracks – The Archer
Art Brut – Brilliant Tragic

Tracks of the year

Bos Angeles – Beach Slalom
It may be all over in 2 minutes and 35 seconds, but this simple and youthful tale of a break-up stirs memories of teenage love and regret that had us hooked from the first listen. From the simple 2 note intro to the frenetic ending it encapsulates everything we love about discovering new bands. There’s nothing showy or over-thought, the recording sounds live and unpolished, and it seems to achieve everything it sets out to do with minimal fuss. The guitar part nods to Johnny Marr, the bassline’s got Peter Hook all over it and the hushed almost spoken vocals drift solemnly over proceedings, portraying a real sense of introspection and apology to what is ultimately a post-punk salvo of a track. They may never write anything as good as this again (we obviously hope they do), but Beach Slalom is as close to a genuine and honest guitar pop song as we could find in 2011 and we love it.
Bos Angeles – Beach Slalom 
Evans the Death – I’m So Unclean
Favourite lyrics of the year on this thrashy and reflective tale of heartbreak… “When I’m watching the shopping channel, I will think of you; When I’m making a sandwich, I will think of you; When I’m trying to get to sleep, I will think of you”.
I’m So Unclean by Evans the Death
Big Deal – Talk
Has the anguish and torture of being unable to articulate basic words of lust and longing ever been so perfectly articulated? A seething bass line, wiltingly cutting delivery, hollow haze and the killer line dished up with such nonchalance, ‘all I wanna do is talk, but seeing you fucks me up,’
Talk by Big Deal
Slow Club – If We’re Still Alive
A soft drum that taps like a heartbeat in angst, the chiming organ teardrops, forlorn yearning of Rebecca’s vocal, building layers reminiscent of 50s girl groups, the killer electric riff followed by an almost calypso beat, a bridge that curls and kisses its way in, all viewed through the eyes of two hopeless romantics. Perfect.
Slow Club – If We’re Still Alive

The live stage – our favourite gigs

Pulp – Take your pick. Brixton Academy, Reading Festival, Isle of Wight. All three were very special. He writhes , he poses, he grooves, and makes us all feel us all wanna be Common People.
[youtube http://www.youtube.com/watch?v=SuVSWe8RkJc]
Pete and the Pirates at Buffalo Bar, 22 Nov – Fist time we’d seen PATP in several years, and we’d forgotten how much we love them. Intimate venue, great tunes.
We Were Promised Jetpacks at XOYO, 12 Oct – What a gig. WWPJ debut album was a job to behold, but their second album released earlier in 2011 is probably my album of the year. They did not disappoint at XOYO (personal highlight being during their biggest hit Quiet Little Voices, when lead singer Adm was hit by a bottle of beer so instead of singing ‘we’re young again’ he creatively changed the words to ‘you’re a c**t’ whilst pointing at the perpetrator. Priceless. With support coming from the wonderful cheeky chaps and chappess that are Let’s Buy Happiness, this was an all-round great gig.

2.54 at Corsica Studios, 9 Nov – The night that it felt like everything came together for 2.54.

Reviewed by Francesca Baker

My initial thought was ‘Oooh, they remind me of Pulp.’ Anyone who knows It’s All Happening, or myself, will aware that this is emphatically. A. Good. Thing. The occasionally venomous lyrics plinky piano and bouncy melodies employed by The Standards are used to an alchemic effect to create a songs so catchy that your find your heart beating to them long before your head starts to process them. All this is true on latest single Mice, offhand comments made in a slightly soiled yet soothing voice tossed amongst moody riffs as it swerves with menace to a ridiculously simple and catchy chorus. Despite being doused in Carnaby Street style, there are some surprises chucked in; the trickling guitar post chorus sounds almost Catalan and even the la la la’s sound like an essential ingredient in the quest for the perfect pop song. Love it.
Mice by The Standards

Reviewed by Francesca Baker

For me this is pure scribal porn. Writing about my two favourite things in the same review – London and music. Only if I was sat at a desk with a ink well, glass of the finer stuff, windswept hills in front of me and my muse awaiting behind me could my writing fantasies be fulfilled any further. Before the writing is that crucial bit, the bit that is even better. The listening. I already know that despite themed compilations being usually a bit, well, sucky, London: Songs To Define The City is going to rate pretty highly, due to the fact Pulp’s Bar Italia features. A song makes me smile, and can lift a mood better than Calpol can.
As an album of songs that reference, pay homage to, are inspired by or criticise the capital city, this is a collection that aims to mirrorsthe thousands of Londons that there are. A question I often ask myself is what is the real London?
Is it the view from Embankment Bridge, the spires of St Paul’s and the London Stock Exchange stretched out ahead after a stroll with Roxy Music’s Do The Strand or watching a Waterloo Sunset serenaded by The Kinks. The myriad shops selling foods unidentifiable to my born and bred British eyes, down in Brixton’s Electric Avenue (Eddy Grant) and the hubbub of languages I don’t understand, not too far from where you might find one of Simple Minds’ Chelsea Girl. The place of hopes and destinies fulfilled, streets paved with gold where anything can happen, so long as you’re with The London Boys (David Bowie). Or dreams shattered, realisation dawning as you come to in the late night lighting of Bar Italia. A place to live or just exist, rolling along purposeless, as in the Streets of London Ralph McTell informs us of.
It’s all these, and London: Songs To Define The City does a good job of being its soundtrack.