Rolling Stone - 4 stars out of 5 -- "On his awesomely gnarled 17th solo album, he plays the low-rent elder statesman, a spectacularly scuzzball Leonard Cohen still snarling, still hoping to get his rocks off."
Spin - "POST POP DEPRESSION helps Pop and his producer-sideman in equal measure, and it's one of the better recent releases from both."
Mojo (Publisher) - 4 stars out of 5 -- "Instead of headlong heavy rock, Homme reprises the near-baroque poise of QOTSA's .LIKE CLOCKWORK -- itself clearly informed by Berlin-era Iggy, but never resembling a lame remake..."
NME (Magazine) - "Iggy's vocals and lyrics are astounding -- he's like an angry young man all over again, and is far more gnarly and potent than any of his contemporaries. It's an intelligent, sassy garage rock record that's obsessed with two things: sex and death."
Paste (magazine) - "POST POP DEPRESSION is an album in which Iggy allows himself to walk in shadows, rather than cast a bold new shadow of his own. That humble decision led to one of his best albums in decades."
Pitchfork (Website) - "[A] record that recaptures the avant-rock frisson of Iggy's Bowie collaborations, in exploratory spirit if not explicitly in sound."
Clash (magazine) - "The lyrics here are some of the finest Iggy has ever written, perfectly balancing out a more morbid line of thought than he's followed before with an undiminished lust for late life."
Uncut (magazine) - "[T]he raw, powerful 'American Valhalla' confronts the afterlife with a shudder over a glowering bass thud..."
Personnel: Gabriel Currie (guitar).
Audio Mixer: Mark Rankin .
Recording information: Pink Duck Studios, Burbank, CA (01/12/2015-01/30/2015); Rancho De La Luna, Joshua Tree, CA (01/12/2015-01/30/2015); Pink Duck Studios, Burbank, CA (03/03/2013-03/09/2015); Rancho De La Luna, Joshua Tree, CA (03/03/2013-03/09/2015).
Photographer: Andreas Neumann.
Fate has a way of putting things into an interesting context. When it was announced that Iggy Pop would be collaborating with Josh Homme of Queens of the Stone Age, the music press buzzed with anticipation about the project. What would the proto-punk icon and the snarky hard rock smart guy come up with? The surprise answer is, in many respects, 2016's Post Pop Depression, an unwitting but loving tribute to Pop's friend and collaborator David Bowie. Post Pop Depression arrived two months after Bowie's death, and was completed before his health problems became common knowledge. More than anything, though, this music evokes the sound and feel of Pop's first two solo albums. 1977's The Idiot and Lust for Life were cut with Bowie in Germany as Pop struggled to make sense of his life and career after the Stooges collapsed. With the reunited Stooges gone following the deaths of Ron and Scott Asheton, Post Pop Depression finds Pop returning to the work he made in 1977, in ways that count the most. Post Pop Depression is smart and thoughtful, intelligent without being pretentious, and full of bold but introspective thinking. While Josh Homme is certainly no David Bowie, he's a skilled musician who challenges Pop in a way many of his previous producers have not. The sound of Post Pop Depression occasionally gestures to Bowie's work, with and without Pop, but Homme has given this music a personality of its own. Dark and richly textured, Post Pop Depression puts Pop's craggy but authoritative voice and intelligent tirades front and center. Homme and his rhythm section of Dean Fertita and Matt Helders have created strong, muscular backdrops for Pop's lyrics that add to their power. They counter his thoughtful anger with sounds that are rich, cleanly designed, and a successful compliment for the star's work. Pop has suggested that Post Pop Depression may be his last album, and if that's true, it wraps up his career with a strong and atypical work. It tips its hat to Bowie, but also to the freedom and creative possibilities Pop discovered in their collaborative work. It confirms that Pop has never lost the ability to surprise and upend expectations. In the bitter rant that closes "Paraguay," Pop declares he wants to run away and live as "your basic clod." It's an ironic thought, closing an album that once again proves Pop never was and never will be an ordinary guy. ~ Mark Deming
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