Iggy Pop: Every Loser review – a celebrity rocker group hug | Iggy Pop

M.After a career spanning more than half a century, Iggy Pop now takes many forms. For most people, he remains the former punk showman who rolled in broken glass and peanut butter-covered crowdsurfers, his time with the Stooges in the 1960s and ’70s. ‘s early records remain some of the most influential in the canon. This is a record of inconsequential nihilism that provided an awkward counterweight to an era of peace and love. Some immortalize the ’70s Iggy alongside his pals David Bowie and Lou Reed.

Pop is now the gravelly, erudite voice of BBC 6 Music, familiar with contemporary sounds as well as genres far removed from his own recorded work. He is enthusiastic about Kemet’s son and the blessed Madonna. He’s a wit and a mischievous rant who strays a little from the ‘godfather of punk’ cliché. (Now 75, he retired from stage diving a few years ago.) Surviving decades of decadence, the singer has long maintained his supple presence with cool, qigong. Filmmaker Jim Jarmusch, who oversaw Pop in the movie , proves his interest in art and history.

you’ll have a hard time recognizing that interesting guy all losers, Pop’s 19th album – a record that makes his most basic persona another sarcastic flail with celebrity fans. Duff McKagan of Guns N’ Roses and Chad Smith of the Red Hot Chili Peppers play bass and drums respectively. On guitar is producer Andrew Watt, who won a Grammy in 2021 for his work with artists like Dua His Lipa, Post His Malone, and Ozzy Osbourne.

The mood is straightforward. The mix is ​​pin sharp. The godfather of punk is right there in this building, sneering at his overdriven Neo punk musicians and knowingly sympathizing with junkies in Strung Out Johnny. “I’m in a frenzy, you bastard,” Pop yells at Frenzy.

To be clear: hating “dicks” and “douchebags” should be encouraged, as pop does. Caulfield’s disregard for speech is one of nature’s wonders.

Here, not so much. The best way to read this thoroughly practical, fast-paced record of rock is as an informative rant against lifelong slackers and philistines. Over the years, pop’s vastly varied solo outings have often taken the proper shape, depending on specific expectations. The Stooges’ early albums did not sell as well as those of the Velvet Underground. But both bands inspired countless nonconformists to take up confrontational poetry.

Occasionally, these famous fans will pop up and design commercial-sounding records around him. This is a process that began with Bowie and his two classic collaborations in the ’70s. fool When desire for life, the record that delivered pop’s first real hit. Green Day and Sum 41 attended the 2003 Skull Ring. 1990, produced by Don Was. Brick by BrickMcKagan and Slash of Guns N’ Roses also appeared.

all losers Here’s another one of these celebrity wax jobs where stars gather and Pop performs to type.Also records such as all losers is often necessary.Anyone know his last studio his album really interesting in 2019 freea set of slanted, often jazz-influenced tracks that recall the late experimental work of Scott Walker, or Preliminaries (2009), a pop response to Michel Houellebecq’s novel Iggy created when he was “tired of hearing dumb thugs on his guitar”, or indeed rear (2012), a recording of a cover version sung in French, praised by Bob Dylan.