#this IS pulp 7

[ratshien]

spy stuff

[starcanwrecked-sexyman-bracket]

[lonestarboyfriend]

some of my ladies sunbathing <3

[quinloki]

[x-heesy]

I’m a big & bad mothertrucKeR 🚛

G҉ l҉ i҉ t҉ c҉ h҉  m҉ y҉  L҉ i҉ f҉ e҉ 

La festa è finita by Salmo 🎧

[angrybatart]

My headcanon: Kasuga being a protective big brother whenever Saeko or Eri are sad. Sometimes a little overprotective.

Hopefully the director isn't Stephen Spining.

[sidesteppostinghours]

guys i made a mistake.

[villainsidestep]

U WOULD HIT FAWN ?????

[domesticated-feral]

beautiful lady in my headphones please stop reminding me that the battery is low, please recharge in time every 30 seconds after it hits 10%. im tryna listen to my tunes until i can't anymore. k thx bye.

[landlordevil]

i see a salacious novel from the 50s/60s/70s and I get the insatiable urge to buy it and read it. NGL i scour through pulps for hours and come out with a few good finds but i don't think i'll ever find leather boy out in the wild...

[tammiflubaker]

Follow me for more unlockable side quests in antiquated games

[justatallstick]

SO WAS ANYONE GONNA TELL ME JOHNNY WAS IN THE 4TH HP MOVIE OR NAH

[wetbananapeel]

I made two cups of coffee here

[mychameleondays]

Pulp: The Sisters EP (7")

coloured vinyl

Island ISC 595/858 702-7, 1996

Originally released: May 23, 1994

[immamapletreekid]

watching water 7 rn i need this bitch dead (spandam)

[luuurien]

High Pulp - Days in the Desert

(Jazz Fusion, Nu Jazz, Jazz Funk)

High Pulp’s new album explores wider expanses and drier, smoother jazz-funk, drawing on the psychedelia of their previous album while grounding the music in thicker instrumentation and bolder compositions. Rather than sweeping you into its world, Days in the Desert lets you marvel at its vastness from up high.

☆☆☆½

Though born in Seattle, High Pulp’s music feels attuned to the sweltering heat and quiet intensity of Los Angeles (where two of its members now reside), their music seeking to transcend the cold and rainy Pacific Northwest with futuristic nu-jazz and dreamy fusion compositions. The sextet’s Anti- debut, Pursuit of Ends, played off traditional jazz fusion with hints of dub and breakbeat in the margins, an immersive if overstuffed introduction to the band’s atmospheric jazz-funk, High Pulp continuing to draw on those ideas in their latest album Days in the Desert. Inspired by the Mojave desert the band drove across throughout their tours as well as reviving charts that were shelved during the pandemic, Days in the Desert plays out both like a new beginning and a change of pace for the group, building each song piece by piece and file-sharing until the songs found their final form, pulling influence from ‘90s alternative rock and lounge revival groups like Tortoise and Stereolab to give the album a smooth, low-key feel compared to Pursuit of Ends’ grander psychedelia. In turn, the album ends up a more enjoyable listen with its own unique hiccups along the way. It’s got all the same strengths as their previous releases, and Days in the Desert’s smaller scope highlights it all more than ever.

At its core, Days in the Desert doesn’t change the formula all too much: drummer Bobby Granfelt stills finds the most excitement in snappy breakbeats and minimal embellishments; Andrew Morrill and Victor Nguyen’s alto and tenor saxophone work respectively plays off one another during their individual sections while also locking in for gorgeous harmonic parts; the dual keyboard work of Antoine Martel and Rob Homan adds all those warm synth textures and extra rhythmic push; Scott Rixon’s bass playing is as study and in the pocket as ever. What has changed, through, is how these elements work in context, High Pulp unable to record these in person due to pandemic restrictions and making their music more linear and defined as a result, solo sections still important to their sound but nowhere near as prevalent as they were on Pursuit of Ends as they make room for James Brandon Lewis to solo in the second half of Dirtmouth or subtly sneak Jeff Parker’s delicate guitar playing into the corners of centerpiece Unified Dakotas. This lack of live-recorded intensity, that player-to-player communication naturally blooming through playing with one another, can be a detriment to the album in its slower sections - Slaw’s blocky percussion and hushed instrumentation is too restrained to really pull you in and Fast Asleep doesn’t build on its instrumentation and makes for a sluggish point in the second half - but the heavier tracks on offer like Never in My Short Sweet Life and its fantastic Mononeon feature or (If You Don’t Leave) The City Will Kill You chugging groove and soaring tenor leads show how High Pulp’s sweltering nu-jazz can work even when one member isn’t right in the spotlight. Days in the Desert knows its atmosphere, and keeps you coasting up and over its sandy expanse with the band’s unconventional take on jazz and alt-electronica.

One of the year’s most refreshing jazz listens, Days in the Desert offers a wonderful take on jazz fusion with the band loosening the screws to be able to make their music from a distance, shimmering ambient pieces and fluid jazz-funk brought down to eye level and letting you explore it to the fullest extent. Rather than returning to the skies, High Pulp ground themselves in the limitations put on them by the world and letting their music act as a breath of fresh air, able to wander when the band couldn’t and allow them to work together regardless of their physical separation. These songs are weary and restless, but they’re full of magic, too: Days in the Desert may keep the sun on your face, but the feeling of relief when the music blows against your face makes every moment worthwhile.