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Iggy Pop - Every Loser (2023)

vom: 04.01.2023

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Musical Over Dose
                is proud to present
                Since January 2002

another new release, have fun

.: about release :.

Name       .:. Iggy Pop - Every Loser

Genre       :  Rock
      Source      :  CDDA
      Type       .:. Album

Artist      :  Iggy Pop
      Label       :  Warner
      Titel       :  Every Loser

Tracks      :  11
      Playtime    :  36:58
      Size        :  72,85 MB

Encoder     :  VBRNEW - LAME3.100 - V0
      Quality     :  VBR kbps / 44.1kHz / Joint-Stereo
      Bitrate     :  avg. 272kbps

[ Tracklist ]

01.Frenzy                                                03:01
            02.Strung Out Johnny                                     04:14
            03.New Atlantis                                          04:08
            04.Modern Day Rip Off                                    03:30
            05.Morning Show                                          03:47
            06.The News For Andy                                     00:55
            07.Neo Punk                                              02:15
            08.All The Way Down                                      04:29
            09.Comments                                              03:54
            10.My Animus Interlude                                   01:03
            11.The Regency                                           05:42

Total  36:58 Min

Iggy Pop is having weirdo fun again. On his new
      album Every Loser, Iggy rocks out. He goofs off. He
      makes colorful, peculiar choices on songs that feel
      blessedly low-stakes. Backed by his latest
      assortment of rock ‘n’ roll mercenaries, with pop-
      minded rocker Andrew Watt at the helm, Iggy has
      delivered his most immediate, straightforward,
      energetic record in years. Though far from a
      masterpiece, it’s a welcome addition to the louder
      and more playful side of Iggy’s catalog.

We all probably conjure the same image of Iggy Pop
      in our minds - his torso shirtless and impossibly
      ripped, a Samson-like mane flowing past his
      shoulders, his face weathered and leathery yet
      somehow ageless. He has his personal aesthetic on
      lock. In some ways, Iggy has always been the same
      since emerging in the late 1960s, a thinking man’s
      feral rock star, louche and charismatic and self-
      destructive and well-read. Yet even that character
      sketch implies the man born James Osterberg has
      always been a complex artist. The Stooges offered a
      lot more than raw power. Pop’s solo discography is a
      winding road that veers between the experimental and
      accessible. And for the better part of a decade, he
      has seemed to be easing into a contemplative
      fadeout.

Ever since 2013’s suitably raunchy and aggressive
      Ready To Die, Iggy has been demonstrating just how
      prepared for death he actually is. He teamed up with
      members of Queens Of The Stone Age and Arctic
      Monkeys for 2016’s Post Pop Depression - a muted
      pastiche of his groovy Berlin classics - then got
      even more meditative and mercurial on 2019’s Free.
      The albums were fixated on aging, mortality, and
      loss; the latter was full of jazzy, contemplative
      soundscapes that became a canvas for Iggy’s crooning
      and spoken-word monologues, which at one point
      included a reading of Hollywood’s favorite Dylan
      Thomas poem. He was basically in You Want It Darker
      mode, but without the poetic chops to resonate all
      that deeply.

Fortunately, Every Loser pivots sharply from that
      headspace. Watt, Iggy’s producer and songwriting
      partner, has guided similar late-career efforts from
      Ozzy Osbourne and Eddie Vedder, but he’s a producer
      with one foot firmly planted in the pop mainstream.
      Watt came up playing guitar in Justin Bieber’s band
      and has credits with the likes of Dua Lipa, Lana Del
      Rey, and Charli XCX. He’s the guy who helped Miley
      Cyrus walk the line between rock and pop on Plastic
      Hearts and who shepherded Post Malone into acoustic
      ballad mode with “Stay.” Even when digging into the
      aggro side of his skill set, he tends toward melody
      and radio-friendly polish. Here, he does so with a
      team of veteran rockers from bands like Guns N’
      Roses, Jane’s Addiction, blink-182, and Red Hot
      Chili Peppers, plus some of the last sessions from
      late Foo Fighters drummer Taylor Hawkins.

On Every Loser, the rock songs rock hard, the new
      wave tracks beam brightly, and even the somewhat
      drippy acoustic ballad “Morning Show” is bolstered
      by a contagious forward momentum. Distortion-bombed
      opener “Frenzy” is one of the most ferocious Iggy
      Pop songs in recent memory, but it also boasts hooks
      upon hooks, its bright chorus harmonies giving way
      to gang-shouted punctuation. Closer “The Regency”
      segues from tense, jangly verses to a wide-open
      distorted chorus in which Iggy repeatedly declares,
      “Fuck the regency! Fuck the regency! Fuck the
      regency up!” In between are additional well-crafted
      rock songs like the synth-streaked “Strung Out
      Johnny,” the Stones-y “All The Way Down,” and the
      hardcore-goes-Broadway diss track “Neo Punk.” (Does
      Travis Barker recognize the irony of his involvement
      in a song in which Iggy skewers high-rolling
      celebrity punk rockers like himself and Machine Gun
      Kelly?) Your enjoyment of “Modern Day Rip Off,” the
      closest thing to a boilerplate rocker on this
      tracklist, will probably depend on how much irony
      you hear in Iggy’s reading of the line, “I ran out
      of blow a long time ago/ I can’t smoke a J, all my
      ducks fly away.”

That’s not the album’s only comedy bit. Mixed in
      among all the riff-slinging rock songs are quite a
      few larks like “New Atlantis,” a campy ode to “a
      beautiful whore of a city” somewhere south of
      Alabama and north of Cuba, and “The News For Andy,”
      a jaunty minute-long interlude in which Iggy reads
      informercial-esque copy about psychiatric treatment
      plans and auto insurance. “Comments,” a poppy post-
      punk track driven by Eric Avery’s bass, splits the
      difference between gloom and glitz and features more
      litmus-test lyrics, this time about social media.
      “Sell your stock in Zuckerberg and run/ Buy a
      passport to the end of fun,” Iggy beckons, before
      intoning, “Yeah, I’m lookin’ for a soulmate in those
      comments.”

This album’s focus on neon-bright rock ‘n’ roll and
      not-especially-deep social commentary might alienate
      Iggy’s more outre listeners. Anyone hoping for
      another weighty statement LP or a return to the
      genuine danger of his classic material might be
      disappointed. Instead, at 75, Iggy Pop has given us
      a bunch of delicious empty calories, a buffet of
      gauche sonic pleasure with more than enough
      personality to make up for its lack of profundity.
      Every Loser seems destined to join an underrated
      canon of albums from legacy artists, records that,
      while short of essential, would actually be
      entertaining to see performed between the hits at a
      live show. It adds up to nothing more - and nothing
      less - than a bunch of seasoned rockers having a
      blast under a crisp professional sheen. After years
      of bleary mood pieces, you just might find that all
      this weirdo fun is contagious.

https://iggypop.com

��

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