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Music review: Iggy Pop – ‘Post Pop Depression’

By Clint Rhodes crhodes@heraldstandard.Com 3 min read
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Rhodes

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Iggy Pop

Iggy PopĢƵ engaging collaboration with Josh Homme of Queens of the Stone Age pairs the godfather of punk with one of contemporary rockĢƵ visionaries, resulting in nine tracks that may serve as PopĢƵ final musical statement.

The 68-year-old proto-punk icon has stated “Post Pop Depression” could indeed be the last album of his celebrated career.

On a majority of the new tracks, Pop channels David Bowie and the duoĢƵ successful partnership in Germany during the late 1970s. During the Berlin period, Bowie would release “Heroes,””Low” and “Lodger,” while Pop would deliver two of his finest solo efforts with “The Idiot” and “Lust for Life.” Influenced by BowieĢƵ experimental vision, PopĢƵ career was resurrected after he departed the legendary Stooges.

On the track “German Days,” Pop and Homme construct a nostalgic look back at this creative and volatile period when both Pop and Bowie fed off each otherĢƵ creative energies both musically and socially.

With PopĢƵ weathered and worn baritone vocals and Homme on guitar, bass and backing vocals, the two are joined by Dean Fertita (Queens of the Stone Age) on guitar and Matt Helders (Arctic Monkeys) on drums.

“Break Into Your Heart” opens the album by detailing a flawed and unusual courtship with Pop announcing, “I’m gonna break into your heart/And follow till I see where you begin.” While initially coming off as creepy, the songĢƵ deeper meaning reveals a more vulnerable message of wanting to steal the love and affection of someone at the most intimate level.

Fueled by a hypnotic, thumping bass, “Gardenia” is a seedy love song that manages to be both disturbing and beautiful at the same time.

“Vulture” showcases a dark acoustic track that ominously reminds us about the abundance of scavengers in the world, always waiting and willing to feed off the weak.

A sense of finality is heard on “American Valhalla” as Pop faces his own mortality and reflects on the aftermath of his personal battles by singing, “I’ve nothing but my name.”

“Paraguay” draws the final curtain with Pop waxing poetic in his own way with a profanity-laced swan song that has Pop going out on his own terms by declaring, “I wanna be your basic clod/Who made good/And went away while he could/To somewhere where people are still human beings.”

If Pop intends to walk away from it all, it is only fitting he does it with the same gritty, uncompromising swagger he first flashed the world back some 47 years ago.

Clint Rhodes is the ĢƵ music reviewer. He can be reached at crhodes@heraldstandard.com.

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