Posts Tagged ‘Josh Homme’

Touring in support of their joint album “Post Pop Depression”, rock icon Iggy Pop and Queens of the Stone Age frontman Josh Homme put together a tour as fierce as their recording. The show was an impressive feat of ageless, timeless rock. Pop alternated between sweet grandpa-like waves and blowing kisses in between songs to youthful raunchiness—humping monitors, sticking the microphone in his pants, and leading the crowd in a riotous chant of, “Fuck! Fuck! Fuck!” And for their part, the band—dressed in sparkly red tuxedo blazers, white dress shirts, and black ties—provided a rock-solid musical foundation. With Homme (who produced and co-wrote Post Pop Depression) on one guitar, multi-instrumentalist Dean Fertita of Queens of the Stone Age, drummer Matt Helders of Arctic Monkeys, and two additional musicians, the six-piece group performed the new songs with the same intensity as those from Lust for Life and The Idiot.

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It’s been four years since Queens Of The Stone Age’s last album, “Like Clockwork”, wonderfully rewrote the rules on what a QOTSA album could and should be.

Now the band is back with a new record, “Villians”  produced by Mark Ronson , Its full of synths, big rock beats and Josh Homme’s heavy-sweet vocals, Villains is not what you expect, which is what you should expect from them by now. The album is not released until August. 25th, but that doesn’t mean you can’t get a taste of what it’s all about right now.

The First Single Is About Josh Homme’s Rocker Wife “The Way You Used to Do,” which roared out to announce Villains in June, kicks off with Homme’s honeyed vocal crooning, “When I first met her she was 17,” which would certainly be creepy coming from a 44-year-old Homme if it weren’t for the fact that he’s referring to the story of how he met his future wife. The story goes that 17-year-old Brody Dalle, then the front woman of an Aussie punk band, met 22-year-old Josh at Lollapalooza in 1996 where he was the touring guitarist for Screaming Trees . They wouldn’t meet again for seven years, but she clearly left an impression. He, of course, went on to form Queens, and she would go on to the Distillers, and some really good solo work. They married in 2007 and have three kids.

 

 

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Last February one month after the death of his close friend and collaborator David Bowie ,Iggy Pop covered Bowie’s “The Jean Genie” at Carnegie Hall. Two weeks earlier, he had said in an interview that he’s probably “closing up” and retiring from the recording business after the release of his new album Post Pop Depression with Josh Homme. If Pop seems a little morbid these days, well, it’s nothing new. A hell-bent, self-destructive streak runs through his entire body of work; in fact, that streak long ago became his calling card, along with this feral, hair-raising baritone. Hard to believe he launched his music career innocuously enough as fresh-faced James Osterberg, the drummer of various ’60s garage bands in Michigan such as The Iguanas and the Prime Movers.

iggy Pop’s next band, The Stooges, hit the scene like a runaway earthmover. Not that the band was particularly popular during its time. Formed in 1967 when he was still going by the name Iggy Stooge, The Psychedelic Stooges (soon shortened), the group harnessed the jet-engine power of fellow Michigan band The MC5 while droning on in a spectacularly Neanderthal way. The Stooges’ self-titled debut appeared in 1969, produced by The Velvet Underground’s John Cale, and it turned psychedelia into something overwhelmingly new: simple, primal, brutal, and blazing the trail for a new style of music still a decade away, punk rock. On the album’s best-known track, “I Wanna Be Your Dog,” Pop howls in an lascivious imitation of Ron Asheton’s wah-wah guitar, celebrating sexual submissiveness while paradoxically playing up the group’s own aggressive, distorted domination.

As great as The Stooges was, it’s an album that all but painted the band into a corner—that is, until Fun House blew off the roof. The blueprint from the first album is dutifully carried over no one ever accused The Stooges of being eclectic but the band’s attack is deepened, sharpened, and given a far more insidious atmosphere of transgression and hedonism. On top of that, the decision to bring saxophonist Steve Mackay into the mix on songs like “1970” and the sinuous, swaggering title track lent a jazzy edge that only enhanced the album’s ominous atmosphere. And Pop’s blistered voice urges on the noise like a drug-pushing drill sergeant. At the start of the ’70s, as rock ’n’ roll was congealing into corporate slickness, Fun House ripped off the skin and pissed in the wound.

Three years passed between “Fun House” and its follow-up, “Raw Power”. The album was billed under the name Iggy And The Stooges, reflecting the new star power of its self-abusive front man, whose bloody, destructive stage performances were already becoming the stuff of legend. But the band itself had disintegrated in a haze of drugs and reformed in those three years, giving Raw Power a far more abrasive and hard-edged sound; co-produced by Pop and his admirer David Bowie, the album’s ear-shredding, in-the-red chaos kick started the punk movement. On songs such as “Search And Destroy,” guitarist James Williamson threatens to split the heavens with his unhinged solos; meanwhile Pop weaves a new mythology of rock decadence that teeters on the brink of sanity and reality.

Barring the officially released demo Kill City in 1977 (recorded in 1975 and credited to Iggy Pop and James Williamson), The Stooges’ time in the studio was long over by the time Pop began in solo career in earnest with The Idiot. Released in 1977, the year punk exploded, it took a different route than all the groups The Stooges had inspired; instead of raw power, the album bears the cool, dour, synthetic tones that co-produced and collaborator Bowie was about to use on his Berlin Trilogy (The Idiot was also recorded in Berlin). In a way, Pop is fish-out-of-place on Krautrock-inspired tracks like “Nightclubbing” and the ethereal “China Girl” (later turned into a hit by Bowie himself). But it’s exactly this bewildered displacement and fresh context that makes The Idiot such a welcome jolt in Pop’s career arc—one that stretched his formidable voice into strange new shapes.

The second of Iggy Pop’s Berlin collaborations with Bowie released in 1977, Lust For Life produced Pop’s most identifiable solo hit: the Bowie-penned title track, a thumping, sinewy anthem that gleefully hurls Pop’s suicidal image back at itself. Falling much closer to Pop’s raw rock wheelhouse than The Idiot, Lust For Life nonetheless produced one of his most sultry songs: “The Passenger,” whose slinky, menacing vibe taps into the dark poetry that Pop always has lurking beneath his bad-boy surface. With punk in full swing, the movement’s forefather claimed his snotty offspring while striking out on his own assured yet anarchic path.

Pop’s third solo album, New Values, was released in 1979—his first without Bowie. Instead it was produced by his old Raw Power cohort James Williamson, who also supplies guitar. Rather than sounding like a Stooges rehash, though, the album ventured forth into bold new territory: sleek, sculpted, and lean, songs like the nervy title track gave Iggy Pop a clean canvas on which to reinvent himself. Accordingly, his vocal range is fully explored for the first time on record: From spoken-word proclamations to supple yelps to stentorian moans, he’d finally settled into his solo-artist role as a sophisticated provocateur and enfant terrible—even while Williamson sets off Stooges-era guitar explosions.

The ’80s should have been the decade where Pop reaped his hard-earned artistic rewards. Instead, it was pretty spotty. In spite of a strong pool of collaborators (The Sex Pistols’ Glen Matlock, Blondie’s Clem Burke and Chris Stein, Patti Smith Group’s Ivan Kral, and Bowie sideman Carlos Alomar) the run of albums including 1980’s Soldier, 1981’s Party, and 1982’s Zombie Birdhouse reflect a desperate frenzy of weirdness, mediocrity, and experimentation with only sporadic bursts of brilliance. Following a four-year break from studio albums, 1986’s Blah Blah Blah was Pop’s attempt to court the mainstream; with David Bowie back in the producer’s chair, the record resulted in a minor hit and something of a calling card for Pop in the ’80s, a slick cover of Johnny O’Keefe’s rock ’n’ roll oldie “Wild One (Real Wild Child).” Pop’s rebelliousness comes off as canned, but the album gave Pop another lease on music life—although it wasn’t capitalized on by 1988’s Instinct, a middling hard-rock team-up with The Sex Pistols’ Steve Jones that feels like a washed-out echo of Raw Power.

In the ’90s, the alternative boom brought many borderline underground artists out of the shadows—Pop somewhat included. He came out swinging with 1990’s Brick By Brick, a substantial album that boasted appearances from members of Guns N’ Roses plus another minor hit—a genuinely stirring duet with The B-52s’ Kate Pierson, “Candy.” With a new generation of stars, led by Kurt Cobain, singing his praises, the decade might have been huge for Iggy Pop, but his next three albums of the decade (1993’s American Caesar, 1996’s Naughty Little Doggie, and 1999’s Avenue B) were mostly muddled and confused, each one lesser than the one before it. Pop’s status as an icon was cemented—especially after “Lust For Life” was resurrected by its appearance on the soundtrack to 1996’s movie Trainspotting but his inability to funnel that into another classic record was frustrating. Yet wholly in line with his perverse brand of self-destructive integrity.

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In the ’70s, few would have predicted that Pop would make it to the year 2000, let alone release some of his most intriguing music in the 21st century. That’s not to say 2001’s Beat Em Up and 2003’s Skull Ring are good—they aren’t—but two significant things happened to Pop’s career in the new millennium: One, he started dabbling in French pop , and jazz, and two, he also got The Stooges back together. His French-inflected albums, 2009’s Préliminaires (consisting of original songs) and 2012’s Après (comprising covers of everyone from Serge Gainsbourg to Édith Piaf), aren’t entirely successful, but they’re both brave and compelling in their own way, giving Pop’s ever-more-cavernous voice a new atmosphere to breathe. The Stooges’ two reunion albums, 2007’s The Weirdness and 2013’s Ready To Die, are wildly uneven—the second is much better—but there are flashes of real combustion to that decades-old chemistry. His new album, Post Pop Depression, once again relies on top-notch collaborators, in this case a group led by Josh Homme of Queens Of The Stone Age, and it’s one of Pop’s best solo albums since The Idiot, Lust For Life, and New Values—mostly because it draws heavily from The Idiot, Lust For Life, and New Values. But if Post Pop Depression is indeed Pop’s swan song, he’s going out on a note that’s both dignified and fittingly creepy.

The Essentials purchases,

1. The Stooges, Fun House (1970) More confident and corrosive than The Stooges’ self-titled debut a year earlier,Fun House is not only Iggy Pop’s most potent statement about the dark side of the modern psyche—it captures American civilization at the cusp of an epic comedown.

2. Iggy Pop, The Idiot (1977) The Idiot is as much a Bowie album as a Pop one, and that’s its strength: icy, experimental, starkly chiseled, and filled with both dreamy electronics, it gave Pop’s wild-man persona a chillingly robotic sheen.

3. Iggy And The Stooges, Raw Power (1969) If ever an Iggy Pop album explodes out of the speakers, it’s Raw Power. Savage and incediary, every second feels like it’s about to shake apart at the molecular level. And Pop has never topped his fierce, apocalyptic imagery here.

4. The Stooges, The Stooges (1973) There’s something endearingly numbskull about The Stooges’ eponymous debut—a psychedelic record that bulldozes over every flower in its path. But it’s also steeped in shadows and Pop’s pulsing, psychotic desire.

5. Iggy Pop, Lust For Life (1977) The title track of Lust For Life may have been used in one too many TV commercials for its punch to be fully retained, but Pop’s sophomore solo album as a whole remains a giddy, meaty match-up between Bowie’s vestigial glam stomp and Pop’s fiery abandon.

Thanks To The AV Club

Iggy Pop will be releasing 'Post Pop Depression Live At Royal Albert Hall' for Record Store Day

3LP set, Best gig ever, Iggy Pop’s Post Pop Depression album, a collaboration with co-writer and producer Joshua Homme from Queens Of The Stone Age, is his most critically acclaimed and commercially successful album for many years. On 13th May 2016, Iggy Pop brought his Post Pop Depression live show to London’s revered Royal Albert Hall and almost tore the roof off! With a backing band including Joshua Homme and Dean Fertita from Queens Of The Stone Age and Matt Helders from the Arctic Monkeys, Iggy delivered a set focused almost entirely on the new album plus his two classic David Bowie collaboration albums from 1977, The Idiot and Lust For Life.

Fans and critics alike raved about the performance and this will definitely be remembered as one of Iggy Pop’s finest concerts. This relentlessly energetic show at the Hall, performed as part of Pop’s Post Pop Depression tour, was certainly one of the live events of the year and one of the standout shows of his career.

The 69-year old rocker, and his supergroup lineup of Josh Homme, Dean Fertita, Troy Van Leeuwen, and Matt Helders, powered through a blistering two-hour set packed with Pop’s biggest hits. The extraordinary atmosphere of this once-in-a-lifetime event, more like a life changing event rather than just another rock concert has been captured remarkably in the recording of the night by Splinter Films.

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Iggy Pop ©KLRU photo by Scott Newton

At 68 years old and with 16  albums under his belt, music veteran Iggy Pop is still making history. The godfather of punk took the Austin City Limits stage for his inaugural appearance on the show just days before the release of Post Pop Depression, There exist nobody on Earth quite like Iggy Pop, and his great new album is further proof.

Conceived in partnership with Queens of the Stone Age leader Josh Homme, a two-time ACL veteran who also produced the album, Post Pop Depression was recorded in secret in Palm Desert, CA with a vibe described as “Detroit meets Palm Desert by way of old Berlin.”

Bringing the new songs to life alongside classic spanning Iggy’s storied career, Iggy is joined by Homme and the powerhouse band that recorded Post Pop Depression , including Homme’s QOTSA bandmate and Dead Weather-man Dean Fertita and Arctic Monkeys’ Matt Helders, and fleshed out with touring members Troy Van Leeuwen (QOTSA) and Matt Sweeney (Chavez, Bonnie Prince Billy).

Post Pop Depression…picks up where Lust For Life left off… The lyrics reflect on memories, hint at characters and offer advice and confessions; they can be hard-nosed, remorseful, flippant, combative or philosophical.”

Setlist:

0:04 Lust For Life
5:33 American Valhalla
10:06 Sixteen
12:41 In The Lobby
16:58 Some Weird Sin
20:46 Funtime
23:45 Tonight
28:01 Sunday
33:04 China Girl
39:43 Break Into Your Heart
43:49 Gardenia
48:55 Interview of the whole Band

Iggy Pop with
Josh Homme – guitar, vocals
Dean Fertita – guitar, vocals
Matt Helders – drums, vocals
Troy Van Leeuwen – guitar, keyboards, percussion, vocals
Matt Sweeney – bass, vocals

At SXSW on the Wednesday; this elder-statesmen Stooge owned the night. He hit the ACL Live at the Moody Theater stage in a sharp black suit and charged right into the tone-setting “Lust for Life” and “Sister Midnight,” and by the time the 68-years-awesome punk icon had finished his third song, the new track “American Valhalla,” he was shirtless – his famously gnarled, sinewy, constantly contorting, and occasionally stage-diving torso on proud display.

Incredibly, this was only the third show for Pop and his new all-star backing band – current collaborator Josh Homme, of Queens of the Stone Age; time-keeping beast Matt Helders, of the Arctic Monkeys; Chavez’s Matt Sweeney on bass; and multi-instrumentalists Dean Fertita (QOTSA, the Dead Weather) and Troy Van Leeuwen (QOTSA, A Perfect Circle, Failure). But they were a tight and aggressive unit, sounding like they’d been playing together for years. Together, they tore through 22 tunes, including Berlin-era-Bowie-esque tracks from the stellar new Homme-produced album Post Pop Depression (“Gardenia” “Break Into Your Heart”); solo classics like “Funtime,” “Nightclubbing,” “The Passenger,” and “China Girl”; and rarities like “Success” and “Baby.” The crowd went wild. At one point, when Pop taunted/tempted the audience by yelling, “Come up here and f— me!,” it seemed like he had more than a few volunteers.

Post Pop Depression might be Pop’s final album, according to his recent interviews – which is a shame, since, judging by his SXSW performance, he seems at the peak of his powers right now, his lust for life very much intact. (We don’t want to call this a resurgence, since he’s been “resurging” since the late ‘70s, really – but Post Pop Depression is the best thing he’s done in years.) However, if Pop does retire after this, he’s going out in style – and, thankfully, he has managed to completely reclaim his name, after a year or two when many people annoyingly associated “Iggy” with a certain Australian rapper. There is only one Iggy, and he ruled SXSW this year.

This 68-year-old man stage-dived. That man was Iggy Pop. It was, of course, incredible, as was the rest of his set with Josh Homme. The emphasis was on material from their album, Post Pop Depression, but there were plenty of Iggy classics like “Lust for Life,” “The Passenger,” “China Girl,” and “Nightclubbing” tossed in for good measure. Homme is the perfect musical partner for Pop, holding his own on the hits, and the new material sounded strong among the timeless stuff. Iggy seemed truly appreciative of the large crowd at the Moody—so much so that he ran about a half hour long.

He ended with an eight-song encore, and probably could have played another hour had it not been for the venue curfew. Make no mistake, Iggy Pop is back.

South By Southwest Music Festival
ACL Live @ The Moody Theater
Austin, Texas
16.03.16

Best albums of 2016 Iggy Pop - Post Pop Depression

On his awesomely gnarled 17th solo album, On Post Pop Depression and a worthy addition to the 22 album legacy spawned with the immortal trilogy of The Stooges, Fun House and Raw Power Iggy Pop deliberately uses the strength of his sound to summon something more than temporary wrath … for one last time. Whether announced or not, every legendary artist will have a final album. spanning massively influential solo outings including 1977’s opening 1-2 combo of The Idiot and Lust For Life, and 1990’s gold-certified Brick By Brick.

Here he plays the low-rent elder statesman, “America’s greatest living poet/Was ogling you all night,” he sings modestly on “Gardenia,” addressing a girl “much taller and stronger” than he, with an “hourglass ass” and a “powerful back.” (What woman wouldn’t be flattered?) His sinewy visions are shaped by producer Josh Homme and Dean Fertita (bunkmates in Queens of the Stone Age), and Matt Helders, the hip-hop-snappy drummer with the Arctic Monkeys. Over nine songs and 42 minutes – old-school LP length – they juggle tight and loose, conjuring a ravaged cadaver in a sharp funeral suit.

The former Stooges frontman and Josh Homme teamed up to rage at the dying of the light, funneling the power of its members’ pedigrees and boasting a high-volume homage to Pop’s past. “To really make a real album, you really have to put everything into it,” Pop commented. He scrapes up every last bit of his power, infusing songs like the bone-dry “American Valhalla” and bruised sunset “Paraguay” with a timeless snarl.

Iggy Pop Post Pop Depression Live

Soon, you’ll be able to take home Iggy Pop‘s heralded summer stop at London’s Royal Festival Hall on his Post Pop Depression tour. The 22-song concert, simply dubbed Post Pop Depression Live at the Royal Albert Hall, will be released as Blu-ray or two-disc DVD on Oct. 28 via Eagle Rock.
Iggy Pop was joined by a supergroup lineup that included Josh Homme and his Queens of the Stone Age bandmates Dean Fertita and Troy Van Leeuwen, as well as Matt Helders from the Arctic Monkeys. Together, they tore through songs from Post Pop Depression as well as two older Iggy Pop classics, his David Bowie-produced The Idiot and Lust for Life. A complete track listing is shown below.
The May 13th, 2016 show marked Pop’s headline debut at the legendary venue – and drew wild praise from British media. The NME called it “the best show of 2016 to date,” while the Telegraph said Pop “all but ripped the roof off the Royal Albert Hall.”

Ironically, Pop said he was considering retirement not long after this show. The Top 20 hit Post Pop Depression ranks as the highest-charting album of Pop’s career; next on the list of The Idiot, which went to No. 72 back in 1977.
Track listing for Post Pop Depression Live at the Royal Albert Hall:
“Lust For Life”
“Sister Midnight”
“American Valhalla”
“Sixteen”
“In The Lobby”
“Some Weird Sin”
“Funtime”
“Tonight”
“Sunday”
“German Days”
“Mass Production”
“Nightclubbin”
“Gardenia”
“The Passenger”
“China Girl”
“Break Into Your Heart”
“Fall In Love With Me”
“Repo Man”
“Baby”
“Chocolate Drops”
“Paraguay”
“Success”

Iggy Pop Performs “Lust For Life” on Jimmy Kimmel Live, The twosome and other band members Iggy Pop and Josh Homme, are on the road in support of their collaborative recent album Post Pop Depression, and they served as musical guest on the Monday night episode of Jimmy Kimmel Live. For the broadcast itself, Pop delivered the new LP’s “Sunday,” and as a web exclusive, the singer and his top-notch backing band unfurled an intense take on Pop’s classic “Lust for Life.”

The Kimmel visit came just hours before Pop revealed that he had contributed to a biography about the Stooges that would be released through the publishing wing of Jack White’s Third Man Records. The book, titled Total Chaos and penned by Jeff Gold and Johan Kugelberg, is expected out sometime in the winter.

Iggy Pop and Josh Homme will wrap up the North American leg of their Post Pop Depression tour Wednesday night with a concert at Los Angeles’ Greek Theatre. Watch Pop and Homme perform “Sunday” on Jimmy Kimmel Live, other band members include our very own Matt Helders of Arctic Monkeys on drums, Matt “Guitar Moves” Sweeney, playing bass

Iggy Pop; David Fricke; Tour

Iggy Pop Josh Homme Break Into Your Heart Post Pop Depression listen

Iggy Pop and Josh Homme have unveiled another new cut from their upcoming collaborative album, Post Pop Depression. Check out ‘Break Into Your Heart’ the second song previewed from the upcoming album.

Last week, the punk icon and Queens Of The Stone Age icon suprised the world when they revealed that they had been making the record in secret – with the album harking back to Pop’s ‘Lust For Life’ days – before dropping the exquisite lead track ‘Gardenia’.

Now the outfit, also featuring Arctic Monkeys’ Matt Helders on drums and The Dead Weather’s Dean Fertita on bass, have revealed ‘Break Into Your Heart’ – anoter dose of Bowie-esque experimental darkness, with a dose of QOTSA meets Tom Waits menace. It’s really good.

Iggy Pop - Post Pop Depression

“I wanted to be free,” said Iggy of the collaboration. “To be free, I needed to forget. To forget, I needed music. Josh had that in him, so I set out to provoke an encounter-first with a carefully worded text, followed by a deluge of writings all about me. No composer wants to write about nothing. He got revved up and we had a great big rumble in the desert USA.”  Post Pop Depression will be released on 18th March.