Posts Tagged ‘Iggy Pop’

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You might expect this documentary about legendary wild man Iggy Pop made by indie film maverick Jim Jarmusch to be a little more dangerous, but “Gimme Danger” plays it pretty straight. And that’s okay, as Jarmusch offers up this “love letter” to The Stooges, who he calls “The greatest rock and roll band ever.” Featuring interviews with most parties involved, Gimme Danger makes a great case for that, as the film goes from Iggy’s high school days when he was known simply as James Osterberg Jr, to hooking up with Ron and Scott Asheton who created a whole new sound. Or, as Iggy told ’70s daytime talk show host Dinah Shore in an infamous mid-’70s television appearance with David Bowie, “I think I helped wipe out the ’60s.”

The film follows the rise, fall and reunion of the Stooges, formed in Ann Arbor, Michigan in the 1967 by singer Iggy Pop, bassist Dave Alexander, and brothers Ron Asheton and Scott Asheton on guitar and drums respectively. Guitarist James Williamson eventually joined the band, with Ron Asheton switching to bass after Alexander was fired.

The band found little success during the first phase of their career, recording three albums that did not sell as well as their record companies expected, and performing for audiences that were largely indifferent or hostile. They broke up in 1974, and the band members went their separate ways with vocalist Pop establishing a moderately successful solo career. In time, the Stooges proved highly influential on the development of punk rock in the 1970s.

The Stooges’ original lineup reformed in 2003, with bassist Mike Watt replacing the late Alexander. Ron Asheton died in 2009, and Williamson rejoined the band for their fifth and final album.

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Iggy Pop turned 73years of age on Tuesday and he celebrated by unearthing a cover of the Sly and the Family Stone classic “Family Affair” that he recorded with funk icon Bootsy Collins back in 1985. “I’ve always loved this song; it came out when I was kinda on the ropes in 1971,” Iggy told the BBC. “There’s a lot of truth in it, especially in the second verse, about all sorts of questions that are coming around again now.”

The song has sat in his archive for the past 35 years. “Then one day recently things had quietened down in daily life for everybody and for me, too, and I listened to it by accident,” he said. “It just made me feel good and it was good company and I hoped that I could put it out and it would be company for somebody else, too.”

Pop’s most recent record, 2019’s Free, is a mellow, jazzy collection of songs he created in collaboration with trumpeter Leron Thomas and guitarist Sarah “Noveller” Lipstate. “The only difference from this Iggy and the one who founded the Stooges is the album’s jazzy horns, synthy backdrops, and greater emphasis on Sinatra-style crooning,”

To all Poptimists! “[this track] made me feel good and it was good company and I hoped I could put it out and it would be good company for someone else too” Featuring: Bootsy Collins on bass

Recorded and engineered by Olivier Ferrand, Studio Los Angeles Produced & Mixed by Bill Laswell

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Written by Sylvester Stewart

 

Iggy Pop: The Bowie Years: 7CD Boxset + Exclusive Numbered A2 Screenprint [signed by the artist]

Iggy Pop has announced new 2xCD reissues of his classic albums “The Idiot” and “Lust for Life”. In addition to remastered versions of the original albums, the reissues feature bonus live discs: Live at The Rainbow Theatre, recorded at London’s Finsbury Park in 1977, and TV Eye Live, respectively. The classic David Bowie-produced albums ‘The Idiot’ and ‘Lust For Life’ are being reissued through a special deluxe boxset.

1977 the story of Iggy Pop and David Bowies Collaboration on two of the most iconic albums of the decade is told in a new seven CD box set which features the albums remastered, a disc of out takes and Three discs of live recordings officially released (with the endorsement of Iggy Pop) for the first time. In 1977, Iggy Pop signed with RCA Records and with the help of David Bowie the two of them wrote and produced The Idiot and Lust for Life, Iggy Pop’s two most acclaimed albums as a solo artist, the latter featuring one of Pop’s best-known songs “The Passenger”. Among the songs David Bowie and Iggy Pop wrote together were “China Girl”, “Tonight”, and “Sister Midnight”, all of which David Bowie performed on his own albums later on (the last being recorded with different lyrics as “Red Money” on the album Lodger). David Bowie also played keyboards on Pop’s live performances, some of which are featured on the album TV Eye Live in 1978.

Both released in 1977, the records remain highly-influential to this day – spawning hits such as ‘Nightclubbing’, ‘The Passenger’ and the title track ‘Lust For Life’.

On May 29th, a special collection titled ‘The Bowie Years’ will be released via UMC. The reissue will comprise 7 CDs containing remastered versions of the original albums, as well as rare outtakes, alternate mixes and a special 40-page book.

The Stooges founder expansive box set is called The Bowie Years, a 7xCD collection that includes those two reissues, as well as demos and rarities and other live recordings from his time working with David Bowie in Berlin. All of these arrive May 29th via UMe. Check out an alternate mix of “China Girl” below, taken from the larger box set. The song was originally the second single from ‘The Idiot’ before it was taken on by Bowie for 1983’s ‘Let’s Dance’. Outside of TV Eye Live, the three March 1977 live concerts featured in The Bowie Years — Live at the Rainbow Theatre Finsbury Park, London 07/03/1977, Live at The Agora – Cleveland 21/03/1977 and Live at Mantra Studios – Chicago 28/03/1977 — are all previously unreleased.

Iggy Pop’s most recent album, a collaborative LP with Noveller and Leron Thomas titled Free, was released last year. Earlier this month, he joined Jane Birkin on Fallon for a rendition of Serge Gainsbourg’s “Elisa.”

Limited Edition 7CD Boxset + Exclusive Deluxe A2 Screenprint, numbered and signed by the artist, Chris Hopewell at Jacknife Studios (best known for his animation with Radiohead for ‘Burn The Witch’. Strictly limited to 500 worldwide.

Stooges

The original punk album, The Stooges is a Molotov cocktail delivered straight to the faces of the hippies of 1969, an album made by Michigan goons who were sick of everything, and wanted to be your dog. The album marked the arrival of Iggy Pop, one of the last true rock ‘n’ roll iconoclasts, and though the album was considered an historic bomb upon its release–it never cracked the top 100–it influenced basically every glam, punk and post-punk album released in its considerable wake.

The album’s original mix by producer John Cale was infamously rejected by Elektra Records–they thought it sounded too abrasive–and it has never appeared on vinyl. Until now. A new way to hear a classic album, this version is presented in the way that John Cale originally intended,

First, there’s the story of the album, which is that when the Stooges recorded this, 51 years ago, it was produced by John Cale, fresh off quitting the Velvet Underground. And he immediately realized that the Stooges should not sound like the Doors, or the Byrds, or whoever else. They were raw power, a barely contained riot, a train bearing down on you as you’re tied to the tracks. So he gets them to record their eight songs, one of my favorite side stories is that the Stooges showed up only having five songs, thinking that was more than enough for an album, and then lied and said they had eight when questioned and had to write three more basically overnight and he mixes the album like it’s this murder in real time, just all fuzz, and violence and ooze. The suits at the label hear this mix, and say what ,in retrospect everyone would say about the version that came out: That it sounded like shit, that it sounded dumb, that it was too uncontrolled to see release. So they fire John Cale, and ditch his mixes, and Iggy and Jac Holzman from Elektra re-mix and resequence the record, which is the version that comes out now.

John Cale’s original vision was the album as sort of a redemptive arc; his version ends with “I Wanna Be Your Dog,” which he saw as Iggy deciding to fall in line with society. The label saw it as one of the singles, so it’s on side one on the original version. So anyway, the original Stooges comes out, and it’s a bomb. But it secretly influences basically every hard rock band that has come since; it’s not an over-exaggeration to say that there’s basically no hard rock if the Stooges don’t lay the groundwork for punk on this album. It’s rightly lauded as one of the most important albums of all time.

Yeah, so meanwhile, there’s this version of the album that basically just lived in Stooges lore, that John Cale’s mix existed but was scrapped. And then in the early ’00s, these tapes walk into Rhino, and somehow, someone has a copy of the John Cale mixes. The speculation is that someone cut an unauthorized walking version of the album basically, one to take home and they confirmed with John Cale that what was on the tapes were his mixes. So they put the album out in digital form in 2010, however, they realize later that they actually released the album at too slow a tempo; the version on the tapes they found was likely recorded not from a deck, but from an echo machine, so for almost 10 years, the version known as the “John Cale Mix” was actually way slower than it should have been.

They corrected the tapes for the 50th Anniversary edition that came out last fall digitally. And this is the final part of the story: WEA/Rhino came to us to ask if we wanted to do the first original vinyl pressing of this album, and once we realized what they were asking, this was a no-brainer. We all listened to it, and I, for one, couldn’t believe that songs I’ve loved since I was a teen could sound even more like they were coming from the end of the scariest alley in town. We’re getting to present one of the most important albums in rock history, and doing so in the way it was originally meant to be heard. It’s a tremendous honor for all of us on the music team.

It’s one thing for us to tell you that the John Cale mix of The Stooges sounds gnarlier than the original; it’s another to let you hear it. Here’s a mini-doc telling the story of the album, and comparing the two records.

You have to remember what it was like before. For a full quarter of 1969, the No. 1 album in the country was the soundtrack to Hair, Blood, Sweat and Tears had a No. 1 album for seven weeks and, no offense to Al Kooper, but nothing on that group’s self-titled told life like it really was in 1969. The music that made its way to the charts back then, how life was on the ground for a Michigan resident raised by a working class family whose only prospects were the already-dying assembly lines or the frontlines of Vietnam.

And then, 10 days before the opening of Woodstock, it also is the ground zero for every angry album of noise that came since; without it, you don’t get glam, you don’t get British or American punk, you don’t get pop-punk, Green Day, and you maybe don’t the evolutions that happened to bring us every type of metal music. You don’t get any of it. Instead, Thank God, and Michigan, then, for The Stooges.

The Stooges were never a safe bet; not only in the “are they going to be coherent enough for shows?” way, but especially in the “These guys are gonna be stars!” way record labels are usually looking for. Fronted by James Newell Osterberg Jr., who came from a trailer park in Ann Arbor, Michigan, and who played the drums as a kid after his parents gave up their bedroom for him to have the space to play. Eventually ol’ James was banging the skins in a band called the Iguanas when he got his nickname, Iggy Pop. Sometime in 1967, at 20, and dropped out of the University of Michigan, Iggy saw the Doors, who were then known as a travelling disaster, as frontman Jim Morrison turned each gig into something like performance art crossed with a riot. Iggy decided he didn’t want to be behind the kit, and wanted to be out front doing that. He linked up with the Asheton Brothers Scott and Ron two guys who liked to party as much as he did, and could play the shit out of their drums and guitar — and Dave Alexander, a guy they all liked who had just recently started teaching himself to play the bass. They played their first show as the Psychedelic Stooges on Halloween, 1967. They’d ditch the hippie shit soon enough. Iggy and the Stooges quickly got a reputation around Michigan, particularly in Detroit, where another band of street toughs called the MC5 had set up shop. The bands became kindred spirits, and often shared bills; the MC5, though, always sounded like they wanted to be hard rock Motown, where the Stooges felt like they were a raw nerve set to make music. Anger and self-loathing and depression set to primitive funeral marches and barely contained war parades. Eventually, an enterprising A&R man from Elektra named Danny Fields signed both bands, in a bid to make Elektra the home of new Detroit rock. Both the Stooges and MC5 would be unmitigated disasters from a corporate level, the MC5 lasting a single album (1969’s live proto-punk volley Kick Out The Jams) before their careers flamed out in booze, drug busts, and legal troubles.
If Elektra was worried their two-pronged Detroit rock machine was in danger following the MC5’s debut getting savaged by Lester Bangs in the pages of Rolling Stone he eventually came around on it, as critics were allowed to do in those days — they had still had no fear in April 1969, when they sent the Stooges to Hit Factory in New York City to record their self-titled debut. They hired a recent underground rock hero named John Cale to produce the album, fresh off his time in the Velvet Underground, where his artiste sensibilities meshed with Lou Reed’s misanthropy to make the first two Velvet Underground albums, case studies in taking a label’s money, doing something no one had done before, and paying the cost for it with low sales while gaining a reputation for being ahead of your time (which the Stooges would soon follow). The Stooges came to the studio with only five songs (“No Fun,” “1969,” “Ann,” “We Will Fall,” and “I Wanna Be Your Dog”), thinking that’s all they needed to make an LP, and when they were told they needed more, lied and said they had them, and went off and wrote three more (“Not Right,” “Little Doll,” and “Real Cool Time”), playing them for the first time as a whole group in front of Cale in the studio. Those eight songs served as the foundation for too many rock movements to line up in paragraph form here, but more than 50 years later, the thing that has to be remembered is how shocking something like “I Wanna Be Your Dog” had to be to people who were used to “Incense and Peppermints.” That opening noise is like an electric chair being fired up, and the death march riff sounds more evil than any Swedish Black Metal band has mustered with 50 years advancement in guitar technology. Iggy didn’t want to hold your hand, he didn’t want to be your baby; he knew he was a dirty dog, and felt he deserved to be treated as such. Iggy studied at the altar of the Chicago blues for a time in the ’60s, and from there he took the willingness to be self-effacing and pitiful; no one sounded more put through a meat-grinder before or since.                    
https://www.youtube.com/watch?v=1Svz3va6iekThe Stooges took rock and stripped it down to its barest studs and refused to build it back up on The Stooges. Something like “No Fun” might have read to people like Robert Christgau as “stupid” in 1969, but it’s without any artifice; it’s all attitude, all raw power. “1969” was the first song about teenage malaise and boredom to actually sound like it was made by people who were sick and tired of being sick and tired; entire bands’ discographies would be pilfered from its two verses:

“Well it’s 1969 okay All across the USA It’s another year For me and you Another year With nothing to do, Last year I was 21 I didn’t have a lot of fun And now I’m gonna be 22 I say oh my and a boo hoo And now I’m gonna be 22 I say oh my and a boo hoo”

When the band finished recording in April, 1969, Cale delivered his mix to Elektra, and things hit the fan. Mixed in a raw, naked form that emphasized the sinister, wild side of the band over sonic clarity, the original Cale mix of the album was rejected by Elektra, in a portent of things to come. Cale’s mixes were thought lost before resurfacing in the early ’00s, and after being originally released at the wrong speed, they’re out on the right speed on vinyl for the first time.

But in 1969, Cale’s mixes weren’t appreciated; Elektra president Jac Holzman and Iggy himself remixed the album, bringing the vocals higher into the mix, and lowering some of the abrasiveness. At this point, it was clear both men thought the Stooges had some commercial potential if they just cleaned it up, which, even without hindsight, is enough to make you spray water out of your nose. Albums this hard didn’t move units in 1969, and they don’t move them now. The people at the front of the herd hacking their way through the wilderness don’t get to enjoy the fruits of the civilization they made possible, and The Stooges hit the marketplace like a brick to the philtrum. It made next to no impact on the charts (it eventually rose to 106 on Billboard’s album charts, but died quickly), was savaged in reviews, and was left to be consistently rediscovered by every generation of fucked up kids who came since; it eventually got its place in the pantheon, but by as much force as is present on the album.

To Elektra’s credit, they kept the Stooges on roster for another LP; 1970’s Fun House added jazz skronk to its mix via saxophonist Don Mackay, but when it too went over like a lead balloon, the band broke up, amid Iggy’s worsening heroin problems, and a lack of much juice in their career. Thanks to David Bowie staking his new stardom on his adoration for Iggy, the band reformed in 1973 on Columbia with Raw Power, and around guitarist James Williamson, whose leads were more punk fury than Asheton’s blues-based piledrivers, and that band broke up almost immediately when Iggy went further into heroin and began palling around with Bowie as a solo artist. Iggy would become something of a solo star and a cultural icon over the years, but until the early ’00s, he and the Stooges remained mostly broken up. However, they reformed with the Ashetons (Dave Alexander died in 1975 of alcoholism-related illness) back on guitar on drums, where they’d both remain until their deaths in 2009 (guitarist Ron) and 2014 (drummer Scott).

Iggy has talked recently of packing it in for good, his legacy cemented under nuclear-blast level concrete at this point. And he should; the man has lived enough lives for a whole litter of kittens. His debut album remains one of the most direct statements of purposes for a recorded body of work that has maybe ever existed; Iggy and the Stooges came to cave in heads, and it’s taken them more than 50 years to even think about stopping.

IGGY POP – ” Sonali “

Posted: November 27, 2019 in ALBUMS, MUSIC
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Iggy Pop has released a brand new music video from his latest album “Free”. The bizarre visual for “Sonali” was directed by Mac DeMarco, and stars a familiar face: The Lizard Man. The well-dressed reptile steers his fur-covered convertible through rush hour traffic en route to his lizard girlfriend (played by DeMarco’s real-life human girlfriend Kiera McNally). Watch it all go down below.

“Sonali” was written by Ruby Sylvain and Leron Thomas. The reptilian cast is a throwback to DeMarco’s “Nobody” visual from Here Comes the Cowboy, in which Mac played a lizard man. (“Sonali”’s reptile protagonist is played by Tommy Midnight.)

“Sonali” written by R.Sylvain/L. Thomas Iggy Pop – Vocal Kenny Ruby – Bass, Piano, Synthesizer Leron Thomas – Trumpet Tibo Brandalise – Drums

IGGY POP – ” Loves Missing “

Posted: October 1, 2019 in ALBUMS, MUSIC
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Iggy Pop has shared the official video for his new single ‘Loves Missing’ – Taken from his new record ‘Free”.

The song features on the iconic musician’s new album, ‘Free‘, which was released last month. Following on from 2016’s ‘Post Pop Depression’, the record also contains the songs ‘James Bond‘ and ‘Sonali’.

Over the weekend (September 29), Iggy Pop unveiled the minimal visuals for his latest offering. Focusing on the singer as he performs in front of a black backdrop, the clip – directed by Simon Taylor – includes footage of a woman browsing through records at Miami’s Sweat Records shop.

“Loves Missing”  Iggy Pop – Vocal Aaron Nevezie – Guitar, Bass Leron Thomas – Trumpet, Keys Chris Berry – Drums

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Iggy Pop is releasing a new album, “Free”, on September 6th via Loma Vista. he shared its first single, short title track “Free.” This week he shared the album’s second single, “James Bond,” which seems to be about a woman who wants to be a superspy. The song features additional vocals from Faith Vern of the British band PINS and a notable trumpet solo played by Leron Thomas.

Iggy Pop had this to say about the song in a press release: “I don’t know what she’s up to exactly, but the tables seem to be turning, and she’s taking over. Well, why not? I’ll try anything once.”

Pop adds: “I’ve never had more fun singing a lyric. Faith’s reading is so loaded, and Leron’s production and trumpet along with the band swings like crazy.”

Freeis the follow-up to 2016’s Post Pop Depression, which was produced by Josh Homme of Eagles of Death Metal and Queens of the Stone Age, who also co-wrote the album with Pop and played on it. In 2018 Pop also teamed up with the iconic British dance duo Underworld (Karl Hyde and Rick Smith) for the collaborative four-song EP, Teatime Dub Encounters. Free was made with help of Leron Thomas and Noveller. A previous press release called the album a “uniquely somber and contemplative entry in the Iggy Pop canon.”

Pop had this to say about the album in the previous press release: “This is an album in which other artists speak for me, but I lend my voice… “By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long.

“But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that’s an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need – not happiness or love necessarily, but the feeling of being free.

“So this album just kind of happened to me, and I let it happen.”

This is first new Iggy Pop album since 2016’s Post Pop Depression, will be released September 6th on Caroline International/Loma Vista.

Iggypop zb front sm

Originally released on Animal Records in 1982 and produced by Chris Stein of Blondie, “Zombie Birdhouse” is something of a lost classic. This album may just be Iggy’s Morrison Hotel; like that Doors classic, Zombie Birdhouse takes an almost novelistic look at the character of America that is by turns funny and angry, reverential and irreverent. It’s filled, too, with an almost mystical primitivism that brings out the shaman in Iggy’s soul. Throughout, Iggy’s collaborator, guitarist-keyboardist Rob duPrey, manages to produce some fascinating noise by altering, filtering and treating his instruments. A heady concoction of drones, Afrobeats and freeform lyrics, the album was Iggy’s 6th solo studio album and represents him at his freewheeling best.Chris Stein and Clem Burke of Blondie provide the exotic rhythmic spice that seasons this record to perfection. The sleeve notes have been written by long time Iggy fan Irvine Welsh.

A visual for lead single ‘The Villagers’ is unveiled as a taster of the album,

The reissue of Zombie Birdhouse has been remastered by Paschal Byrne at The Audio Archive, London. It features the singles ‘Run Like A Villain’ and ‘The Villagers’ along with rare photographs from the original photo-shoot by Esther Friedman.

The CD edition is Expanded with the addition of a Bonus Track in the form of the original version of Pain and Suffering, which features fellow Blondie band member Debbie Harry on backing vocals. The song was originally recorded for the ground-breaking animated feature film, Rock and Rule (Iggy provided the voice of the Monster From Another Dimension and Debbie Harry the voice for the character, Angel) but the OST was never released.

No one wonders why bands still love to cover “I Wanna be Your Dog” in 2014. In fact, even in its much tamer studio version, The Stooges’ feedback-heavy force of a song still out-fought most hard-rockers in ’69, only being outdone by Detroit brothers The MC5. It’s a blistering piece of proto-punk, one that set the stage for any outlandish, fuzzed-out guitar line that would follow in a garage, and Iggy Pop’s unforgettable wails—“Now I wanna be your dog!”—can’t be unheard.

“I Wanna Be Your Dog” by The Stooges is one of the nastiest, filthiest, sexiest rock blasts of all time with its repetitive and monstrous guitar drone, Iggy‘s horny barks and that single-note piano riff played by producer John Cale (then member of The Velvet Underground). The single was released back in 1969 and a couple of decades later Sonic Youth played a S-H-A-T-T-E-R-I-N-G live version on some American TV Show with a bunch of crazed guests, including a far-out saxophonist and… a mental flutist.

I Wanna Be Your Dog” is a 1969 song by the American rock band The Stooges. The song is included on their self-titled debut album. Its memorable riff, composed of only three chords (G, F♯ and E), is played continuously throughout the song (excepting two brief 4-bar bridges). The 3-minute-and-9-second-long song, with its raucous, distortion-heavy guitar intro, pounding, single-note piano riff played by producer John Cale and steady, driving beat, established The Stooges at the cutting edge example of the heavy metal and punk sound.The song notably uses sleigh bells throughout.

Underworld-Iggy-Pop-Teatime-Dub-Encounters

Last month, British electronic godheads Underworld teamed with American Garage punk Iggy Pop for a surprise collaborative track, “Bells & Circles.” It was a transfixing composition, Underworld’s charging and pulsating electronic backdrop underpinning a sort of intensifying spoken-word poem from Pop. The tone was also a curious one, with Pop reminiscing about the days where you could smoke on airplanes and hit on flight attendants, things it is quite plausible Pop legitimately misses. And yet, there was something more going on there, like he was doing some kind of performative piss-take on “Those were the days”-type recollections. “Bells & Circles” was more engaging than it needed to be given that the pedigree of the artists involved alone made it interesting.

This was the lead single and opening track of a full EP from Underworld and Pop, titled Teatime Dub Encounters and due out at the end of July. The origins of the project go back to when Underworld were supervising the soundtrack to last year’s Trainspotting sequel.

As you might recall, the first Trainspotting soundtrack was iconic and influential, and the film was bookended by an Iggy Pop classic and Underworld’s soon-to-be-classic “Born Slippy ” they all met up in London to discuss the prospect of writing new music for the second Trainspotting given their shared connection to the original.

Apparently Underworld’s Rick Smith set up basically a whole studio in a hotel room, and they all did a few low-key sessions. Here’s what Pop had to say about the process:

When you are confronted with somebody who has a whole bloody studio there in the hotel room, a Skyped director who has won the Oscar recently, and a fucking microphone in front of you and 30 finished pieces of very polished music, you don’t want to be the wimp that goes “Uh uhhh,” so my mind was racing.

The idea of Iggy Pop of all people being somewhat intimidated is really something! None of the material they worked on there wound up on the T2 Trainspotting soundtrack in the end, But for now that it’s been compiled for Teatime Dub Encounters.

Along with the announcement, they also shared a second song from the EP, “I’ll See Big.” The new single is quite a different beast than “Bells & Circles.” A celestial, ambient composition, “I’ll See Big” provides an impressionistic piece for Pop to once more go into spoken-word meditation mode. This time around, it’s a lot less frantic, and a lot more ruminative, Pop’s age giving him a natural gravity and grit in his voice as he reflects on friendships through the decades, and what a few might think of him when he’s gone. The lyrics were supposedly inspired by a conversation Pop had with Trainspotting director Danny Boyle about the film’s underlying core themes of friendship.

TRACKLIST:

01 “Bells & Circles”
02 “Trapped”
03 “I’ll See Big”
04 “Get Your Shirt”

Underworld & Iggy Pop I’ll See Big From the EP: Teatime Dub Encounters  via Caroline International.