Driving highlights on record such as “Sunday” and “Vulture” channel Homme’s inclinations. Funny enough, you could truly call Queens of the Stone Age a supergroup these days, having had so many guests and lineup tweaks over the years. Furthermore, Homme’s resume speaks for itself, having worked in the past with Them Crooked Vultures, Mark Lanegan, Brody Dalle, Kyuss, and The Eagles of Death Metal to name a few. Call it a supergroup, call it Pop’s bucket list springing into fruition, but the record is solid largely due to the efforts of each member’s contributions in their respective roles. Part of Post Pop Depression’s allure is the star power behind the record. There are more logistics to this narrative of one man phoning up the other between Iggy Pop and Josh Homme, but even so, Post Pop Depression had potential right from the get go, no matter what a collective musical world thinks of Iggy Pop in the last few years. Even more fitting, an icon like Iggy Pop brings the collective talent pool into the limelight. That’s the magic touch Josh Homme has proved time and time again that he can gel with everyone that he has sights on creating something with. Combine these stylings with Josh Homme’s affinity for putting an alternative rock spin on Dean Fertita’s synths and Matt Helder’s appropriately standard drumming, and sure enough, the final product becomes what began as four musicians coming together for the first time into a band sounding tight and in-sync as if they’ve played with each other for years. No, he takes a much more lenient approach in making the sleek, enrapturing sound of his feeble singing a strong point. In fact, most of the songs are not powerful in a traditional sense of bare bones scream-it-all-out passion like Iggy Pop has done in the past. Opening number “Break Into Your Heart” is punk godfather Iggy Pop showcasing his familiar, deep, crooning voice amidst the fragile wobbling in his vocal chords. In spite of this, Josh Homme’s fingerprints are all over this thing sonically. Sure, the other three make a cameo on the artwork, but beyond that, we can assume that this is in fact, an Iggy Pop record. Pop’s worn voice is reminiscent evidence of this fact He’s not going to be David Bowie, but apparent peas and carrots collaboration with a more modern flare doesn’t have to churn out a dangerous experimental gamble.Ībove all else, Iggy Pop is the one that gets to plaster his name on the Post Pop Depression project. Blackstar is now the instant staple of how to leave this earth with a rousing bang. Better yet, the passing of David Bowie can only add to the bar set way up high on just how elegant and radiant a glowing superstar can burn out. The name is obvious in revealing what’s at stake here, that is, a gentleman in his age and wisdom fully enveloped in his own fading ego. It doesn’t take a rocket scientist to decipher one Iggy Pop’s inner dialogue on Post Pop Depression. We see that both in his songwriting and lyrical content, as well as the themes of the record. Knowing that as a listener, perhaps it’s all too clear, even in the eyes of Iggy Pop, that his drug-fueled escapades of a budding punk rock and post punk heaven are behind him. Much like his longtime friend, the recently deceased David Bowie, millennial releases have been far from horrible, but nonetheless, projects like the last Stooges album for example can’t help but invoke a capitalization on nostalgia of former glory. Pop has always been a showman, wildly predicating any stage antics and general debauchery we see out of the most charismatic rock gods in today’s society (or a blatant copycat of his demeanor and dress if you’re Anthony Kiedis). See, it ain’t your dad’s record collection, only those who create with heavily influential cues from his favorite artists growing up!Īmidst the wear and tear of an icon like Iggy Pop, the buildup to Post Pop Depression is perhaps too invasive of his fellow musical senseis. Tagging along are Homme’s fellow Queen of the Stone Age, Dean Fertita, as well as Arctic Monkeys drummer, Matt Helders. Josh Homme and Iggy Pop are generational talents that happen to be invading the newest uprising with fresh outlooks on life and their work. In this present time where true bred household name rock stars are a scarcity, the next best thing can be derived instead from those already solidified in our collective hearts. To listen to Post Pop Depression is to examine the players at work here, and revel at the meshing of worlds colliding, not that collaboration is difficult given the talent available.
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