Harris, Keith (2004). "Pulp". The Rolling Stone Album Guide (4thed.). Simon & Schuster. pp. 665. ISBN 0-7432-0169-8. The Trees" was released as a double-A side with " Sunrise" at the insistence of the record company. Island Records' Nigel Coxon explained, "We all thought ['Sunrise'] was brilliant and it should be a single... but the record company, being very timid possibly, thought, 'Sunrise', six minutes, two-minute outro, no chance. 'Trees', that's more obvious'." [2] As a compromise, the two songs were released as a double-A side, which meant, according to Coxon, that "that single got slightly diluted". The single reached number 23 in the UK, a relative disappointment for the band. [2] Reception [ edit ] The one song played straight, ‘The Night That Minnie Timperley Died’, stares into the abyss of a subject that two decades on is just as desperately relevant – sexual violence committed upon women and girls. It makes for uncomfortable listening, as it should. Like a lot of Pulp songs, it speaks of confinement, spatial and economic but also that conferred by gender. The options are bad no matter where the main character turns but there are always worse things lurking, in the form of dangerous debased men who fancy themselves as sharks, “paunchy but dangerous.” Again, it’s the little details that disturb (“And he only did what he did 'cause you looked like one of his kids”), and the contrast between the wistful glam-sparkled jangle of the music, the naive idealism (“there's a light that shines on everything & everyone…”), and the horror of what happens out of shot. a b Sturdy, Mark (2009). Truth And Beauty: The Story of Pulp. London, England: Omnibus Press. ISBN 978-0-85712-103-5.

Winter, Jessica (October 2002). "Pulp: We Love Life". Spin. 18 (10): 116 . Retrieved 28 April 2016. The second departure follows in downbeat fashion, “I used to hate the sun because it shone on everything I'd done”. The idea for ‘Sunrise’ came from one of those nights when you stay too long at a party and, in a state of disrepute, you curse yourself and the godforsaken onslaught of the morning. And then just when it seems to be slipping into despair, the song turns dramatically and bursts into what must be one of the most thrilling finales to any band’s existence. It feels like new territory, an ecstatic surge, closer to dance music than anything Britpop offered. This is life. It’s grim and doomed. And the choice to love it, against all the evidence to the contrary, is a magnificent exhilarating leap of faith. Ornamented types: a prospectus" (PDF). imimprimit. Archived from the original (PDF) on 22 December 2015 . Retrieved 12 December 2015.One sanctuary, offering the possibility of beauty or love, is nature. People leave cities for numerous reasons but self-preservation looms large. And if you can’t leave, you take refuge in the green spaces you can find, even if they only exist in parks or books; clinging to nature for fear of falling off the face of the earth. Which is to say Pulp never really changed.

If _Different Class_ was the big night out and _This Is Hardcore_ was the end of the night when things started to go a bit messy, the very under-rated _We Love Life_ is the sound of the band waking the morning after the very heavy night before - and wondering what happened.In Die Technik des Dramas (1863), Gustav Freytag argued for an ideal five act structure in storytelling. The problem was Freytag, for all his talent and success, was a racist Prussian supremacist and had, to put it mildly, something of a questionable world-view. Another problem was that life, with all its messy tangents and inconvenient loose ends, does not necessarily unfold in five acts. Pitchfork staff (28 September 2009). "The Top 200 Albums of the 2000s: 200-151". Pitchfork . Retrieved 1 October 2009.