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It's his first new solo LP since '\u003ca href=\"https:\/\/www.roughtrade.com\/gb\/iggy-pop\/post-pop-depression\"\u003ePost Pop Depression\u003c\/a\u003e', \u003ca href=\"https:\/\/www.youtube.com\/watch?v=SCiic3SXVWk\"\u003eRough Trades Album of The Year 2016\u003c\/a\u003e. \u003c\/p\u003e\u003cp\u003eAfter a brief set of \u003ca href=\"https:\/\/www.roughtrade.com\/gb\/underworld-and-iggy-pop\/underworld-and-iggy-pop-teatime-dub-encounters\"\u003e'Tea Time Dub Encounters'\u003c\/a\u003e with his Underworld collaboration back in 2018, and a recent fine re-issue of lost classic \u003ca href=\"https:\/\/www.roughtrade.com\/gb\/iggy-pop\/iggy-pop-zombie-birdhouse\"\u003e'Zombie Birdhouse'\u003c\/a\u003e, our \u003ca href=\"https:\/\/www.youtube.com\/watch?v=SCiic3SXVWk\"\u003eold friend Iggy\u003c\/a\u003e returns, with perhaps his finest work...\u003c\/p\u003e\u003cp\u003eKey collaborators include American trumpeter, sound designer, vocalist and composer Leron Thomas and Brooklyn\/Austin-based guitarist, composer and filmmaker Sarah Lipstate, who works under the name Noveller. Her solo electric guitar project was the support act for the infamous \u003ca href=\"https:\/\/www.roughtrade.com\/gb\/iggy-pop\/post-pop-depression-live-at-the-royal-albert-hall\"\u003eRoyal Albert Hall show of Iggy Pop in 2016\u003c\/a\u003e.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eFree\u003c\/i\u003e is a Jazz-tinged film noir soundscape, coupling soft brass arrangements with Talking Heads hooks and grooves, amidst underwater city soundscapes with a sonic palette reminiscent of latter David Bowie and Brian Eno solo records. The talents of Iggy's new collaborators are in full flow throughout the ten tracks, providing him with a broad and cinematic mise en scène, not unlike the world created for Jade Vincent by David Holmes and Keefus Ciancia's Unloved project. It's a musical immersion, one that seems to occupy the space somewhere between past and present.\u003c\/p\u003e\u003cp\u003eThe 1 minute 48 slow noir Jazz introduction of \u003ci\u003eFree\u003c\/i\u003e sets the tone, before we're hit with the direct low-slung bass drive of \u003ci\u003eLove Missing\u003c\/i\u003e. The cinematic Jazz sweep of\u003ci\u003e Sonalil\u003c\/i\u003e guides us in to the cheeky jangle groove of \u003ci\u003eJames Bond\u003c\/i\u003e. TV on the Radio-esque Mexican big-beat number \u003ci\u003eDirty Sanchez\u003c\/i\u003e hits you hard, before \u003ci\u003eGlow In The Dark\u003c\/i\u003e and 'Page' go somewhere deep in to Iggy's soul. By which time you realise this is a special record. \u003c\/p\u003e\u003cp\u003eThe poetic trio of \u003ci\u003eWe Are The People, Do Not Go Gentle In To The Good\u003c\/i\u003e and \u003ci\u003eThe Dawn\u003c\/i\u003e seal the deal, as three statements of intent. Iggy finds a full freedom delivering a fresh, honest, challenging and sincere attempt to be \u003ci\u003eFree\u003c\/i\u003e with this album.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOn the process that led Iggy and the principle players Leron Thomas and Noveller to create this \"uniquely somber and contemplative\" 10 track piece, Iggy says:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e“This is an album in which other artists speak for me, but I lend my voice…\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e“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.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e“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. 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