Iggy Pop

‘Post Pop De­pres­sion’

Sun.Star Cebu Weekend - - Audiosyncracy - (PABLO GORONDI/As­so­ci­ated Press)

IGGY Pop rocks and shocks on “Post Pop De­pres­sion,” evok­ing his 1977 peak achieved with David Bowie but en­hanced by all he’s gone through since.

In Josh Homme of Queens of the Stone Age and Ea­gles of Death Me­tal, Pop has found a con­ge­nial song­writ­ing part­ner and pro­ducer, the ma­ture pupil who grasps both the power and sub­tlety of the master.

QOTSA’s Dean Fer­tita and Arc­tic Mon­keys drum­mer Matt Helders skill­fully com­plete the band.

There are re­cur­ring shades of Bowie — cred­ited by Pop with res­cu­ing not only his post-Stooges ca­reer but his life — in var­i­ous riffs and sonic de­tails, but they are not empty homages. Pop was there (Ber­lin) and did that (co-writ­ing and record­ing his best al­bums, “The Id­iot” and “Lust for Life,” with Bowie).

The nine-track “Post Pop De­pres­sion,” his 17th solo stu­dio al­bum, also has some of Pop’s best lyrics. “Choco­late Drops” has unique in­sights about be­ing in the pits: “When your love of life is an empty beach, don’t cry, when your en­emy has you in his reach, don’t die.” On “Amer­i­can Val­halla,” Pop tack­les mor­tal­ity — “I have no plans, I have no debts ... I’ve noth­ing but my name” — and sees a chance that his life’s work will get him in.

Clos­ing track “Paraguay” starts idyl­li­cally, with in­ten­tions of liv­ing in “a com­pound un­der the trees, with ser­vants and body­guards who love me,” but ends as ornery as Clint East­wood in “Gran Torino,” let­ting you know ex­actly how he feels about you and your “evil and poi­sonous in­ten­tions.”

In the end, if this is re­ally his last al­bum, Pop goes out on top and just like he came in all those years ago — rant­ing, rav­ing, mis­be­hav­ing and throw­ing it back in our faces with a can­tan­ker­ous grin.

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