Iggy Pop
stimulant
Rock
★★★★
This summer we had the opportunity to confirm that. Iggy PopAlthough he can please us with beautiful Frenchized albums (“Préliminaires”, “Après”) or with caution (“Free”), he has not the slightest intention to stop being. as always the incorrigible father of punk. 75 years old ready to shout for a purpose again in this beautiful place ‘Every loser’disc carrier of anger and philosophy.
On his last tour, diluted seventies German rock accents were appreciated here. ‘Every loser’ is something closer to solid adult guitar player from ‘Post pop depression’ (2016), although its framework is clearer. Josh Homme does not appear here, but there is a group of “vip” American fans, for example duff mckagan (Guns and roses), Chad Smith (Red Hot Pepper) and david navarro (Jane’s Addiction), who even participated in the composition with the producer of the album, Andrew Watts. He’s such a used to rock’n’roll vibe with both Ozzy Osbourne and Miley Cyrus.
First, ahead
From all this comes an Iggy Pop who managed to find it. a balance point between the wild side and the reflective background, in a song like ‘Neopunk’, a parody of bad boys ‘model Gucci’, with no trace of its own parody and delightful traces of bad luck. Iggy Chop, who dares to open the album (or it will be something else), and the arrogant, fugitive ‘Frenzy’ warn in the first line: “I have a dick and two balls and that’s more than any of you. ”.
Other extraordinary moments, in a different order: “Sstrung out Johnny,” an addiction story with survivors’ morals and postpunk keyboards, and “Comments,” where his baritone voice shines; and targets social media ‘trolls’underlines the album title (“all losers need some cheering up”). Between the two, marking the climax of the album, ‘morning show’a beautiful ballad that solves the mystery of still being Iggy Pop (“I’m going to fix my face / to the morning show / like a pro / The clown you loved is dead”).
Free and no commitment
And in closing, the “regency”, angry and heartily, where they swam hostility to the music industry and here it is advertised as “free, no commitment”. A song that leaves an unconsidered trail of mourning as it presents the drummer’s posthumous recordings. taylor hawkins (Foo Fighters), died ten months ago.
It is the culmination of a record that appears decorated with a. Raymond Pettibon’s coverHe is responsible for the ‘images’ of Sonic Youth’s ‘Goo’ (1990) and several Black Flag albums. An album where Iggy Pop places an always-to-be-tweeted value, sincerity, away from the walking cartoon of the ever-excited rocker, showing off muscle and leaving it behind as a punk totem for the post-punk. Jordi Bianciotto
Other albums of the week:
‘Unity’
Nina Hagen
Greenland Records
rock-electronic
★★★
The return of the Berlin singer a period of 11 yearswith a bold mix: electronic postpunk, dub interference and catatonic covers with crystal guitars and from “16 tones” to “blow in the wind” in German. All chewed up and spit out with it trans cabaret voicecries out in gospel mode for “positive vibes” with George Clinton in the title song. Despite the general sense of hallucination, something wild and fascinating hovers over the chaos. JB
“new punk”
Elite
montgra
synth-punk
★★★★
Punk’s innovation Nil Roig and David Burgues Billing from Tàrrega includes adding synthesizers and machinero beats to some hooligan and festive songs. Attentive listeners of bands from the 80s It smells like Eskorbuto or Decibelios (“Sixpack” smells as Oi! as Voll-Damm). In any case, his violent disrespect is hidden a commercial potential (The irresistible pop boom from ‘Happy to be ugly’) will expand its fan base exponentially in 2023. Rafael Tapounet
Cory Smythe
Pyroclastic Records
Experimental
★★★★
sweet Jerome Kern melody -Immortal thanks to The Platters, Sarah Vaughan or Nat King Cole – only heard once. He pretends to be a ghost half-buried between layers of rippling noises, cracklings, ripples of wires, and winds coming and going. But pianist Cory Smythe He argues that the romantic, melancholic spirit of “The smoke is getting into your eyes” permeates the entire album. Half ensemble music, half solo piano, between improvisation and orchestration, all watery, porous. like a dream. A song for the century of artificial intelligence? Roger Rock