![]() Recording his latest album was not only an opportunity to work with musicians Pop had run-ins with in the past, but some he’d been admiring from afar. It’s just simplicity and simplicity is never out of style.” “You’re not trying to do a Demi Lovato track, you know? Even though that’s fine. You’re not trying to do a Burt Bacharach song,” he jokes. “Everybody who worked on ‘Every Loser’ was my style in general, a stripped-down simplified style. ![]() The late Foo Fighters drummer Taylor Hawkins contributed to the album too. It’s an all-star rock’n’roll lineup: Blink 182 drummer Travis Barker, Pearl Jam guitarist Stone Gossard, former Red Hot Chili Peppers guitarist Josh Klinghoffer and Jane’s Addiction’s Dave Navarro and Eric Avery all feature. ![]() That was the core band, Chad, and Duff, and other people came in and punctuated it.” “They were young enough to be my kids or knew me when they were kids. “It was all guys I’d known when they were starting their careers,” Pop says. Watt tapped multiple rock icons for ‘Every Loser’, rounding out the album’s rhythm section with drummer Chad Smith of Red Hot Chili Peppers and bassist Duff McKagan of Guns N’ Roses. Pop obliged, thanks in part to the producer’s “fine ear” and his “ability to play and sing with exceptional timing, pitch and tonality.” “When Morrisey wrote to me about it, he said, ‘The producer on this is extraordinary,’ and he really was.” Following the feature, Watt asked Pop if he could “knock up some tracks” for him. “I was a guest detail on a Morrissey track he produced,” Pop says. Watt first collided with Pop while working on a yet-to-be-released project for the former frontman of The Smiths. I’m very fortunate to have that colour on the record.” But now, after taking trips into multiple sonic territories, Pop’s ready to return to the raw and raucous sound that not only launched his career but countless others. Years earlier, he shared ‘Après’, a melodic compilation of covers largely sung in French. Before that, he waded back into the sounds that launched his solo career with the critically-acclaimed ‘Post Pop Depression’ in 2016. The album follows 2019’s meditative and jazz-infused ‘Free’, which Pop describes in the liner notes as a “recoil from guitar riffs in favour of guitar scapes”. ‘Every Loser’ marks Pop’s first release on Atlantic’s partnership with Gold Tooth Records, the label founded by producer Andrew Watt, an avid Stooges fan and award-winning mastermind behind releases from Ozzy Osbourne, Miley Cyrus and Post Malone. “It’s based on a bit of personal experience and a little bit of how visibly nuts I am,” he laughs. ![]() It’s a hysterical, biting warning of the rest of the album’s energy. The track sees Pop howling, “ shut up and love me/ cause fun is my buddy”, before hurling expletives at an unnamed “stoned douchebag”. I eyed that one in the corner for a month before I approached it.” “We needed to step on the gas harder and when I listened to it, it felt like when someone’s in the room you’ve got the hots for, but you’re not ready to deal with it yet. “‘Frenzy’ was the first single because it struck the cattle prod in our joy button whenever we heard it,” Iggy tells NME, his baritone register droning cheerfully on the other side of the line from his home in Miami. It’s riotous, unapologetically aggressive, and so packed with distorted guitars and rapid drumming that it’s difficult to hear where the now 75-year-old musician begins, and the feral 20-year-old who fronted primal rock pioneers The Stooges ends. ‘Frenzy’, the inciting track to Jim Osterberg’s 19th solo studio album, ‘Every Loser’, sounds exactly like what you’d expect from the man who popularised the stage dive. Even fewer could shout each word like they mean it. Not many songwriters can confidently launch into an album by lashing out the lyrics: “ Got a dick and two balls, that’s more than you all / my mind’ll be sick if I suffer the pricks”. ![]()
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