Iggy Pop – Post Pop Depression – VINYL LP


ean : 0602547778222

1 in stock


Rock beasts rarely come as urbane as Iggy Pop (68) and Josh Homme (42), producer of Pop’s 23rd record – his last major outing, Pop avers. Sure, Iggy invented punk in the late 60s, strutting and fretting over the brutalist guitar shapes of the Stooges, slashing his chest and ingesting more drugs than anyone bar Keith Richards. But you only need to tune into his 6 Music show to understand there is more to the man born James Osterberg than dissolute sinew, exposed in all weather.

You wouldn’t want to cross Homme, 6ft 5in of brooding six-string authority, superfan of Iggy’s Berlin period, benevolent dictator of a granite empire that includes Queens of the Stone Age, the Desert Sessions series, Arctic Monkeys productions and the Eagles of Death Metal (he is a non-touring member). Add in members of Homme’s extended bandwidth – QOTSA’s Dean Fertita and Monkey Matt Helders – and you have a record in which the last of the 70s Berlin roués (RIP David Bowie, Lou Reed) ponders his situation with a band primed to detonate – and slinkily, at that.

They don’t. Despite the pedigree of all involved, Post Pop Depression was never intended as a heavy rock record, Homme has revealed. Instead, the first track, Break Into Your Heart, virtually recalls Scott Walker strolling down a urine-stained alleyway, guided by brass.

You’d imagine a track called American Valhalla to be the apotheosis of louche sturm und drang. But it begins with a delicate East Asian melody and finds a rueful Osterberg searching for salvation, one cut to his size. “Is there anybody in there? Who do I have to kill?” he muses.

The Stooges In the Studio
LOS ANGELES – MAY 23: Iggy the Stooges (L-R Dave Alexander, Iggy Pop in front, Scott Asheton in back and Ron Asheton) pose for a portrait at Elektra Sound Recorders while making their second album ‘Fun House’ on May 23, 1970 in Los Angeles, California. (Photo by Ed Caraeff/Getty Images)
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This album would be operatic, if opera were not trilled but drawled. Iggy’s erstwhile producer, Bowie, haunts it, even before his death. On Gardenia, Pop’s vocal is an echo chamber, channelling Bowie, channelling Pop. Even though some of these songs are less than the sum of their parts, it’s hard not to warm to a collaboration that comes up with a track as funky and modal as Sunday. “This house is as slick as a senator’s statement,” sneers Iggy.

So this is not an exercise in raw power, as per the Stooges album of 1973, but rather a vein of weathered chanson like that explored on 2009’s Preliminaires, where Iggy went highbrow, inspired by jazz, Brel and a Michel Houellebecq novel. “I wanna go to the beach,” he sang then. “When your love of life is an empty beach, don’t cry,” he sings now on Chocolate Drops, the slinkiest thing here. The lyrics are as bare as Pop’s legendary torso.


Tracklist :

A1 Break Into Your Heart
A2 Gardenia
A3 American Valhalla
A4 In The Lobby
A5 Sunday
B1 Vulture
B2 German Days
B3 Chocolate Drops
B4 Paraguay

Additional information
Weight 280 g





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