Iggy Pop 'Post Pop Depression' review

Image: Iggy Pop 

When Mick Rock famously proclaimed “It's a miracle that David Bowie, Lou Reed and Iggy Pop are actually still alive today, given how hard they lived” it seemed unthinkable that two thirds of rock ’n’ roll’s sacred triangle would actually pass away one day. 

The way Bowie and Reed survived the hedonistic heights of the seventies and laughed in the face of death made it all the more shocking when they were found not to be, in fact, immortal.

Furthermore, it’s almost incredulous that Iggy Pop, whose lust for life nearly proved to be the death of him, is the last man standing. 

His latest album, Post Pop Depression, even by its title seems to nod its head towards the realisation that such wild antics have been buried amongst hazy memories of years gone by and the new Iggy is a somewhat more sombre character. 

There is every chance that this could be the final record from the former Stooges front man and by drafting in modern day rock galacticos Josh Homme and Dean Fertita (both Queens of the Stone Age) and Matt Helders (Arctic Monkeys) he has ensured the musical accompaniment is as powerful as his lyrics. 

Throughout the entire 41 minutes of this record you can’t help but think that Iggy was feeling the presence of the grim reaper lurking in a shadowy corner of Homme’s home studio in Joshua Tree, California. 

This is portrayed throughout; ‘American Valhalla’ (listen below), for example, includes the line “death is the pill that’s tough to swallow” and it’s a similar story in the ominous ‘Vulture’: “His evil breath/smells like death”.

None of this has an adverse effect however, if anything Pop’s introspection is commendable and this particular all star collaboration brings his self reflection to life.

Prior to the album’s release it wouldn’t have been unfair to have some reservations about how it was going to sound. If Lou Reed’s ill fated collaboration with Metallica was anything to go by, this could have proved to be a confusing mash up of musical ideas.

This is certainly not evident here though. Josh Homme provides the kind of chunky fretwork that makes up the softer moments of QOTSA’s back catalogue - his and Helder’s delicately seductive falsetto perfectly compliment Iggy Pop’s new found direction as a croaky crooner. 

Opening track ‘Break Into Your Heart’ (listen below) is a prime example of this. The flickering embers of Pop’s voice blend delightfully with Homme’s as muscular drums and guitars smoulder underneath.

This culmination of talents hits its peak mid way through the album on ‘Sunday’. The song begins with the kind of Homme-hardened Arctic Monkeys drumbeat that was first heard on Humbug before a surprising guitar groove takes over.

The addition of female backing vocals on the chorus is a treat, as is the mesmerising solo that leads the song into a beautiful orchestral ending.

‘German Days’ is another one the albums true gems, its opening riff descends into a swirling nostalgia trip back to a time when Pop and Bowie consumed almost each and every delicacy Berlin had to offer.

40 years on and it seems that those wild nights Iggy and the Thin White Duke shared in the German capital are not only moments the singer cherishes, they are also moments he is proud of. 

It’s a rarity to listen to an album as genuine as this, there is no front or façade but also no feeling of regret. It’s a true celebration of a bygone era yet also a poignant reminder that not even the most death defying rock stars can live forever.

Words: Henry Lewis 

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