To those who thought Preliminaires was fun - and I think it's one of the most enjoyable albums Iggy has done post 70s - there are elements to enjoy here particularly Iggy's take on 'La Vie En Rose'. And it's the songs in French that work best probably because they're less familiar to English speaking ears. But I don't think any one of them would have made the cut on his previous album and you can't help but think 'out-takes'. Taylor Hawkins drums up a storm [on ‘Every Loser’]. I’m very fortunate to have that colour on the record.”

More than half a century into his career, Iggy Pop now takes many forms. To most he remains the proto-punk showman who used to roll around in broken glass or crowd-surf covered in peanut butter. His early records with the Stooges on the 1960s/70s cusp remain some of the most influential in the canon – documents of devil-may-care nihilism that provided a scuzzy counterweight to the era of peace and love. Others immortalise Iggy in the 70s alongside his buddies David Bowie and Lou Reed, a triad of exalted reprobates. The Stooges records were inappropriately mastered. They sounded wimpy, but digital streaming and CDs has fixed that”

Not that Iggy shies away from all commercial plugs. He’s taken part in Gucci campaigns, lending his svelte aesthetic to the brand’s bright tailored suits. There was also his appearance in Swiftcover insurance ads in the ‘00s, which were called “misleading” by the Advertising Standards Authority and “embarrassing” by Pop. Ouch. lyrics: Vito Pallavicini, Pierre Delanoë, Claude Lemesle; music: Pasquale Losito, Salvatore Cutugno The cover photo is referring to the figure La Conscience played by Iggy Pop in the French movie L'Étoile du jour ( Morning Star) by Sophie Blondy. Punk and nostalgia’s chokehold on current culture seems to be grasping even tighter as of late. Recent music festival lineups, like Los Angeles’ Just Like Heaven and Las Vegas’ When We Were Young have rolled out sold-out events featuring post-punk and pop versions of the sound, headlined by artists like Interpol and My Chemical Romance. It’s now even made its way from the club stage to the runway.

When I started out, I didn’t know what publishing was,” Iggy says. “I didn’t understand you were paid money on the basis of intellectual property. Nobody told me, and I didn’t ask. When I was doing the first Stooges album, I thought that writing credits were just about glory. Now, these guys have lawyers, realtors, investment advisors, you name it.”

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Today he adds: “There’s also a bit of the punkier people who’ve made serious fortunes. Even Justin Bieber gets punk points for egging his neighbour’s house a few years ago,” he laughs, referencing the Canadian’s 2014 controversy. “That’s not something teenage heartthrobs used to do.” The album has been described as containing ″crooning vocals, Cole Porter covers, soft melodies, and an all-around sense of everything suave″. [5] Every Loser’ also delves into how punk has leaked into the greater pop culture subconscious since artists like Iggy incited the genre half a century ago. In ‘Neo Punk’, Pop rattles off the lines, “ I don’t have to sing, I’ve got publishing/ I’m a neo punk” and “ my hair is blue and my prescription too / I never have enough to do.”