IGGY POP – POST POP DEPRESSION (2016)
Release Date: 8th March 2016
℗ 2016 Caroline Australia
- Break Into Your Heart
- American Valhalla
- In The Lobby
- German Days
- Chocolate Drops
Upon hearing the news that Iggy was at it again, my thoughts returned to those of the younger me, utter gobsmacked while listening to Lust For Life, and the feeling of gleeful addiction to his music from then onward. Perhaps a slightly healthier addiction than those enjoyed by our performer. But love him, loathe him or be as uncaring about anything in youthful Iggy style, he is a legend and his music has impacted us all. In addition, the man’s longevity seems to know no boundaries. The astounding truth is that this is his seventeenth studio album. Seventeen. An astounding concept in anyone language. Perhaps the influence of Josh Homme from a performing, but more importantly production perspective, has been the important factor in creating this exciting link to days gone by, and if good fortune prevails, the rise of further latter day Pop. I’m quite certain the work of Josh Josh, Dean Fertita and Matt Helders has contributed vastly to making this album such a successful celebration.
Although mildly disappointed that I can’t envisage Iggy rolling in broken glass to this fantastic collection, this album is reflective of Iggy’s unique style and entire approach to artistic creativity. That magic that only Iggy can put to music. But to be perfectly clear, this is no blast from the past not an attempt to recreate his former self. It is utterly true to the title throughout and clearly illustrates that he is by no means done with his remarkable skillset.
Perhaps it is my joyful, reminiscing soul granted occasion to be released from contemporary bondage and permitted to frolic in the garden of Iggy, but personally I hear subtle reference to his catalogue in each track. Not the same and by no means a cut and paste. But subtleties that seem to reference each stage of his remarkable career. Again, perhaps this is the brilliant work of Josh in creating this benchmark album. Perhaps the nine track LP standard of old is a little hint from the Iggy camp. The track sequence is sensational. Iggy eases us into his contemporary existence with Break Your Heart, but has you hook line and sinker, as we all struggle to picture the subject of Gardenia. Damn, what a body that must be. Then as we progress through the album we experience something not too dissimilar to the old style drug induced whirlwind of sound, afforded a conscious coherence.
American Valhalla opens initially as an oriental ode, strangely reminiscent of China Girl, but that is before we are rhythmically wooed into a true Iggy reflective state. Brilliant. As enjoyable as I find this track, I will refrain from drinking your juice Iggy. ‘I’ve Nothing But My Name’ at tracks finale will reside in my memory right next to ‘the horror’ from Brando, Apocalypse Now style, and afforded equal reminiscent weight.
In The Lobby brings about the familiar outbursts from Iggy at the perfect time, to provide the perfect emphasis, just exactly the way only he can. I can’t help but wonder what an increadible journey of frightening discovery it would in fact be to follow Iggy’s shadow. Just once would be enough.
Sunday is just a catchy musically, vocally and lyrically, as anything I’ve ever heard previously from Iggy. One of those brilliant tracks that provide us with a calm Iggy, a happy Iggy. An Iggy resembling something of a normal person? No. This is the calm before the storm, and again sequences to perfection. The musical collapse at the finish reminds me personally of the parting scene from The Shining, both is musical accompaniment and cerebral imagery. The end. No please. And equally haunting.
Vulture reminds us that every track on this historic collection, is unique to the former. Its own style and its own reflection. Immediately following the fantastic Vulture we are provided the tremendous ebb and flow of German Days, providing a further unique track identity.
Chocolate Drops immediately hit me like a freight train, with the style and vocal delivery providing me with fitting imagery of Iggy and David Bowie together again. Just imagine that.
Paraguay is a sensational finish to the recording providing a perfect reminder of Iggy’s journey of music production. Further it’s sound is quite astonishing as we travel quite a serene journey, and provided some timely signature Iggy ‘tra la la la la la’ (bringing The Passenger back to the fore) before becoming a malevolent venom spitting classic. The riffs, the beat and the moderately annoyed Iggy, end the track in brilliantly familiar style. Magnificent and utterly Iggy. Jesus? This is still Iggy.
At this point I would attempt to summarise. To reflect and impart in one paragraph what this album means to me. Any attempt would be futile. Please refer to the album title which says it all.