The Michigan singer delivers an album that is both wild and reflective in which he lets himself be embraced by musicians such as Duff McKagan (Guns n’Roses), Chad Smith (Red Hot Chili Peppers) and the late Taylor Hawkins (Foo Fighters).
The new LPs by Nina Hagen, La Élite and Cory Smythe, also reviewed
This summer, in concerts like the one at Porta Ferradawe had the opportunity to verify that Iggy PopAlthough he can delight us with nice Frenchified albums (‘Préliminaires’, ‘Après’) or by becoming circumspect (‘Free’), he does not have the slightest intention of ceasing to be the incorrigible paterfamilias of punk that he always was. At 75, ready to bellow for a cause again in this beautiful ‘Every loser’disc bearer of fury and philosophy.
On his last tour, accents of seventies German rock were appreciated, which are diluted here. ‘Every loser’ is something closer to the solid adult guitar player from ‘Post pop depression’ (2016), although its frame is more open. Josh Homme does not appear here, but there is a group of ‘vip’ American fans, such as Duff mckagan (Guns n’ Roses), Chad Smith (Red Hot Chili Peppers) and David Navarro (Jane’s Addiction), who even participate in the composition together with the producer of the album, Andrew Watt. A guy this accustomed to the mood of rock’n’roll, who has had it with both Ozzy Osbourne and Miley Cyrus.
The first, in the front
From all this comes an Iggy Pop who manages to find a balance point between the wild side and the reflective background, without a trace of self-parody and with traces of enjoyable bad luck in a song like ‘Neopunk’, a parody of the bad boys “Gucci model& rdquor;. Iggy chop and arrogant, who has the nose (or it will be something else) to open the album warning, in the first line of the runaway ‘Frenzy’: “I have a dick and two balls, and that’s more than all of you & rdquor ;.
Other outstanding moments, in different orders: ‘Strung out Johnny’, a tale of addictions with survivor’s morals and postpunk keyboards, and ‘Comments’, where he shines his baritone voice and, targeting social media ‘trolls’, underpins the album title (“all losers need a little joy & rdquor;). Between the two, pointing to the peak of the album, ‘morning show’a beautiful demystifying ballad about continuing to be Iggy Pop (“I’ll fix my face and go / to the morning show / like a professional / The clown you loved died & rdquor;).
Free and without commitments
And, closing, ‘The regency’, angry and heartfelt, where they float animosity towards the music industry and in which it is declared “free, without commitments & rdquor ;. A song that leaves a trace of mourning not contemplated, since it offers posthumous records of the drummer taylor hawkins (Foo Fighters), deceased ten months ago.
It is the culmination of a record that appears decorated with a cover by Raymond Pettibon, responsible for the ‘artwork’ of ‘Goo’ (1990), by Sonic Youth, and several Black Flag albums. Album with which Iggy Pop slides a value that always has to be taken with tweezers, sincerity, placing himself far from the walking caricature of the permanently excited rocker, showing off muscle and leaving behind as a punk totem for after punk. Jordi Bianciotto
Other albums of the week
Return of the Berlin singer, after a span of 11 yearswith a brave concoction: electronic postpunk, dub interference and catatonic covers ranging from ’16 tones’ to ‘Blowin’ in the wind’ with crystalline guitars and in German. All of it, chewed up and spit out by that trance cabaret voice, crying out in gospel mode for the “positive vibrations& rdquor; with George Clinton on the title track. Despite the general sense of delusion, something wild and fascinating floats above the chaos. J.B.
The novelty of punk that Nil Roig and David Burgués billed from Tàrrega consists of adding synthesizers and makinero beats to some hooligan and festive songs that reveal attentive listeners of groups from the 80s like Eskorbuto or Decibelios (‘Sixpack’ smells as much of Oi! as of Voll-Damm). In any case, his fierce irreverence hides a commercial potential (the irresistible burst of pop from ‘Happy to be ugly’) that should expand its fan base exponentially in 2023. Rafael Tapounet
The sweet Jerome Kern melody -immortal thanks to The Platters, Sarah Vaughan or Nat King Cole- only sounds once. She does it like a wraith, half buried between layers of rippling sounds, crackles, ripples of strings, and coming and going winds. But pianist Cory Smythe he maintains that the spirit of ‘Smoke gets in your eyes’, romantic, melancholic, runs through the entire album. Half ensemble music, half solo piano, between the improvised and the orchestrated, all watery, porous. Like a dream. A ballad for the century of artificial intelligence? Roger Rock