House Nights Revisited: Jarvis Cocker Talks Returning to His Club Roots With New JARV IS Project

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House Nights Revisited: Jarvis Cocker Talks Returning to His Club Roots With New JARV IS Project
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House nights revisited: Jarvis Cocker talks returning to his club roots with new JARV IS project.

-- effectively ending his time as an explicitly mainstream figure -- he's managed to remain one of rock's most compelling and singular figures in the decades since.

The resulting album is far too rich and mysterious for easy genre categorization, but Cocker's fascination with the house music of his youth is evident in its heavily electronic textures and hypnotic, stretched-out jams, as well as in lyrical references to genre icons Frankie Knuckles and Marshall Jefferson, whoseinforms the title of"House Music All Night Long.

But the emphasis was on mostly people trying to find someone to have sex with, really. It wasn’t so much about dancing. So the thing that I liked about the acid house thing was that people just danced a lot, and really lost themselves in the music. And being involved in music... you sometimes feel that yourself, when you’re really enjoying something, or first come up with an idea for a song. You feel that way, that music can transport you.

Yeah, I guess you’re right. Because we’d recorded it just around the time that I went to college, the late ‘80s. But it didn’t come out until ‘92 or something like that. I’d finished college then, and we’d started to do a few shows towards the end of college -- playing more like a normal band -- and then people started to like us. So we went, “Right, let’s just keep going then.” But [the dance sound] was always there, in the background.

Hopefully we’ve learnt from that now -- if a change comes, it has to be something that’s about now, rather than a revival. And I think maybe that’s what I’m trying to do with [JARV IS] as well... the sounds, and the ideas and structures are kind of coming from dance music. The lyrics are coming from. I like that. I’ve always done that, I suppose. I like to experiment with putting things together that you wouldn’t necessarily imagine to be together.Barcelona, about three years ago. We’ve got quite a long connection with the Primavera Festival. It’s a great festival.

Are there songs you think would end up very different on the record had they been born in the studio, fussed over a little bit more?And that song -- I’d been working on that for like seven years. And in the end, that was just a case of when you go out and play live -- you know, I’d worked on it, and unfortunately in the modern world, you can just keep adding and adding and adding. And you can have like, 500 tracks of audio or something like that. Live, we can’t afford that many musicians.

But we changed it when we came here, actually. Because I know that the word that’s used in that ["C--ts"] -- in the U.K., and in Australia and places like that, it’s really just an insult. And it’s not confined to any gender. What I realized from being in the States is that it is more [gendered]. So we changed it to “Pricks are still running the world” when we were touring the West Coast.

Before Scott Walker passed away, about three years ago now, there were the proms at the Royal Albert Hall. They did all this kind of ‘60s music with an orchestra and a band. And because I know those records very well, I was ready to pounce on any mistake that they did. But they were amazing. So I thought, all right…Exactly. So I made a note that it’d be good to use those guys. So that’s how [bassist Andrew McKinney and drummer Adam Betts] came to be part of it.

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