Posted by: Mark Nielsen | August 25, 2017

Paris Terror, Iggy Pop, and the “Eagles of Life Metal”


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Today was a perfectly puky punk rock spit-in-The-Man’s-face sort of day. In other words, Iggy Pop dominated my playlist at work. The Chairman of the Bored seldom disappoints at moments like this.

However, it turns out I missed something important last year: his amazing collaborative album with the equally brilliant Josh Homme. So consider this a better-late-than-never catch-up entry, my way of keeping this August’s U.S. protests and counter-protests in perspective.

Video- Iggy and Homme on Colbert 

[Disclaimer: most of what follows is lifted direct from Wikipedia and cut down for brevity]

Post Pop Depression is the eighteenth studio album by American rock singer Iggy Pop, released on March 18, 2016. 

Produced by Josh Homme –of Queens of the Stone Age, and Eagles of Death Metal [the band on stage in Nov. 2015 Paris when 89 show attendees and workers were massacred by ISIL]. 

Consisting of nine songs, the album was recorded between January 12 and March 9, 2015.

Intending to collaborate on a record about mortality and the legacy of an artist, Pop sent Homme some lyrics by mail, along with notes about Pop’s time working with David Bowie. Three months later, Homme sent lyrics to Pop, and they agreed to work together on recording songs in a studio. Pop and Homme self-financed the album.[8]

Dean Fertita [Queens of the Stone Age] recorded additional guitar and keyboards to Homme’s guitar work, while Matt Helders [Arctic Monkeys] recorded drum tracks. Homme stated that preparing Post Pop Depression was one thing that helped him cope with the aftermath of the November 2015 attack at the Bataclan.[4][6]

…They debuted their first song, “Gardenia”, on The Late Show with Stephen Colbert on January 21, 2016.[6][12]The song peaked at number 26 on Adult Alternative Songs. The album debuted at number 17 on the Billboard 200 making the album Iggy Pop’s highest charting in the US. It also charted highly in other parts of the world as well.

…Matt Wilkinson of NME praised the album and gave it a perfect score, describing it as “an intelligent, sassy garage rock record that’s obsessed with sex and death” and “a solid gold proof of his [Pop’s] genius.”


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