The Naked And Famous Talk New Album 'Recover,' Covering The Weeknd & Allyship With The Black Community

The Naked And Famous

Photo: Larsen Sotelo


The Naked And Famous Talk New Album 'Recover,' Covering The Weeknd & Allyship With The Black Community

Alisa Xayalith and Thom Powers also spoke candidly about staying grounded during a pandemic and how the music industry can better support Black artists, among other vital topics

GRAMMYs/Jul 25, 2020 - 05:28 am

New Zealand electro-pop act The Naked And Famous were big in the golden era of the indie/alt scene, thanks to their powerhouse 2010 debut album, Passive Me, Aggressive You, and survived to talk about it, with creative energy to spare. After their romantic relationship ending in 2014 and the other members leaving the band in 2017, Alisa Xayalith and Thom Powers recentered and reinvented the project's creative flow, even shifting the sound to somewhat sunnier territory.

The result is Recover, their fourth studio album, released today, July 24. Across its 15 tracks, the duo explores themes of death, mourning, heartbreak, recovery and identity, all with an unwavering sense of honesty and lightness. Throughout the project, there is a powerful feeling of the pair exploring and creating space for all emotions. There's even unbridled gratitude and joy, with an ode to Xayalith's dog on the effervescent "Sunseeker."

Ahead of the album's drop, Xayalith and Powers called in from New Zealand and Los Angeles, respectively, to chat with and dive deep into creative process behind it. They also spoke candidly about staying grounded during a pandemic and how the music industry can better support Black artists, among other important topics.

Your new album Recover comes out in July. What are you most looking forward to about sharing this project with the world?

Xayalith: I think I am just really excited to get it out there. I mean Thom and I have gone on a journey the last two years to get to this point. For me personally, I'm just relieved to just finally get the work out there so people can listen to what we have been working on. And I really hope that during this time it helps people escape from the current state of the world. I also hope people can see it and enjoy it.

When did you finish working on it?

Xayalith: We finished everything around December.

When did you start the album and what was the seedling of the beginning of the album? Also, what was the creative process like along the way?

Powers: We began recording this one around 2017, which is right about when our other band members left. Alisa and I began doing what we usually do; we start writing songs and we make demos. Regardless of what we are doing, we are often making demos. But we didn't really hit our stride, really figure out what we were doing until the summer of 2018. Everything up until that point was trial and error, we were trying writing positions, working with other people. Some of them came out okay, but we were looking for a new sound, a new direction, a new framework. We had this exceptionally productive burst of creativity in the summer of 2018.

The first song that was written for the new album was "Recover," which is one of the reasons we advocated for it to be the name of the album and the first track because it was really symbolic. It was this turning point. The way that song was written, I was waiting at Alisa's house in her studio with a friend of ours who was doing some co-writing and co-producing with us, his name is Simon Oscroft. He's an old friend of mine from childhood and he does songwriting and producing in L.A. now. Alisa was out, running an errand. She comes storming into her house while we're having coffee, like "I've written this song in the car." She burst into the room with "Recover," with the chorus already written. That was the moment when we hit our stride.

The bulk of the album was written then, in summer 2018, I want to say two-thirds of it. And the remaining third, was the good songs from the time prior to that that we hung on to, but we had to wait until we had the new direction to re-approach and re-conceptualize them. That is the short version of how this came about.

I would love to hear a little bit more about what finding that new sound felt like.

Powers: Yeah it was definitely a eureka moment with that song. It was an obvious turning point, and right after "Recover" we dove right into the album. There were a handful of other songs like "Sunseeker," "Come As You Are," "Easy," "Everybody Knows," that we were just churning out over the course of the month. In the first two weeks most of them came out. It was very clear to us when we had "Recover," that we had something new. And then "Sunseeker" followed it up very promptly, we knew we'd found our new direction. We had found our new way to complete this album, which was great.

Xayalith: When we wrote "Recover," originally it was very traditional sounding, kind of a soft folk song. We recorded it with guitar, some piano and vocals. And Thom was like, "How about we record it this way and then reverse engineer it, drop it into a session and then add some electronic production." So the scene would change quite rapidly in the song and you're not expecting so. How Simon and Thom produced it prompted how they would continue to work together on writing in the days after. I think that alone added some evolution to the production of the songs that you hear on the record.

Where did the idea for the "Bury Me" video come from? And was as fun shooting it as it looked.

Xayalith: Thom has been wanting to direct music videos more, and it was like the perfect opportunity for him to jump in. The minute I read [the treatment,] I just cracked up, I thought it was absolutely hilarious. We finished it out with our creative director, who helped us organize everything and put it together, but it was Thom's hilarious brainchild of the video treatment.

Powers: I came up with it one night at a bar. I had the idea that Alisa just kept killing people, and then I would cover it up. I got worried along the way that it was going to be sort of a male savior complex. It made more sense to have me equally as responsible for all the catastrophes in the video. We tried to combat that [complex], I cover up her mistake and I am driving the car and the first thing I do is run Luna [Shadows, who co-wrote and co-produced the track with them] over. So hopefully I got rid of that angle and parodied it a bit.

I loved making that video, it was a lot of fun. I don't usually have fun making videos per say. I do enjoy being on set and there is a joy that comes from doing it, it is exciting with all the drama and fuss of making videos. But it can be kind of anxiety inducing because it is very difficult to make something satisfying on a low budget. We don't have millions of dollars to spend on a video. And fortunately, that video had so much planning that went into it that it came out really well for not having a massive budget. We are really proud of it. We had an amazing team on it as well that made it come to life. They are all in the credits on YouTube, we always want to direct people to check them out.

Xayalith: If we go back and look at the music videos, we've never really gotten in them as much. We really took the opportunity to make music videos to tune in on an identity that wasn't really there before. And this music video, I feel like it gave Thom and I a chance to not take ourselves so seriously and so people can see another side of us that they have never seen before. I think that has been something really fun and new for ourselves and people who have been a longtime fan of the band.

The one scene where I have blood splattered on my face, we only had one shot for that, one shot because we only had just enough blood for one squirt, so I had two people on either side of me on their knees with their hands held up to my face and they squeezed it and I was like "Okay, I cannot laugh." It was so funny, after we cut everyone erupted into laughter.

Read: Lady Gaga, The Naked And Famous, Bruno Major & More Artists Talk Staying Grounded During Quarantine

On the album, the messages on "Recover" and "Death" feel especially poignant during these trying times. Can you speak to the story behind "Death," what it meant to you recording it then and how it feels listening to it now?

Powers: Thank you, that is such a flattering question. That song has an interesting story about how it was put together, and the starting point particularly. But the line that I stole, again, stealing more of Luna Shadows' creative content. We live together and she has this gorgeous, secret solo project which she just keeps on voice memos. She sent me one of them and it has that line "We both like the idea of / dying by the ocean side / maybe there is nothing more?" It is a love song but I wanted to steal lyrics from her own song and sing it back to her.

And then Alisa, Simon and I wrote this love song and it was fun for me to get an opportunity on this record to be a topliner. For that song, I got to switch roles. Usually I am the one sitting at the computer and doing the tracks. Like on "Recover," and you can hear it is very much Alisa's story, her lyrics. You couldn't create that on a committee, which a lot of Los Angeles songwriting is like—very impersonal and without a universality to it, weirdly, even though it is written that way. With "Recover," Alisa is the topliner, and Simon and I were the producers and the co-writers, so we might fill in lyrics and suggest melodies and lines, but the narrative is coming from one person. My belief is you really need that in a song. I got the opportunity on this album to do that, where Simon was running the computer and Alisa was my co-writer. I haven't had an opportunity to do that on other albums because we haven't worked with someone like Simon who I trusted enough to run the session.

I am not a happy person, I am someone who is consumed by thinking about death and ethics and mortality and the pointlessness and meaninglessness of existence. I wanted to try and write a song about that. But it ended up being really—I don't want to say fun, but it's groovy and it has a gentle quality to the song which is really beautiful and satisfying.

The song is kind of challenging ideas that people have about finding meaning in life. There is this silly idea that if you don't believe in a higher power, or something superstitious, or don't have magical thinking, then why do you get up in the morning? I think there is a deeper meaning in that this is all you have, this is it—it is even more precious. All the meaning you can get in life is right in front of you. "Death" is both a love song but also a love song to that idea. I am really proud of it.

I love your cover of The Weeknd for Triple J—why did you choose to sing "Blinding Lights?"

Xayalith: I am a huge fan of The Weeknd. So when he released it, it was just something I was listening to a lot. Out of a few choices we had, it was the one that made the most sense. If you listen to the song, and the album, he's taken a lot of '80s pop and synths on this record. It was kind of exciting for us to take that. Thom just nailed, just whipped up the demo really quickly.

We turned it around pretty quickly. In the history of the band, we normally go over everything for a while. It was just like, "cool, the music is done, let's go." It was a really fun challenge for us to do that. We have never done a Triple J "Like A Version" before, so we wanted to make sure it was a song that we enjoyed.

If you could record any other cover, what would it be?

Xayalith: Well, I am a huge fan of Caroline Polachek and "So Hot You're Hurting My Feelings" was another one of our choices. I absolutely adore that song. If we were to record another, that would be the next one.

So, it's now been a decade since you released your dreamy debut album, Passive Me, Aggressive You. If you could go back and give that version of yourself any advice, what would it be?

Xayalith: Don't fight the process.

I really fought with myself. I put a lot of pressure on myself when I was younger to get things done, without realizing that part of the process is the work and going through the motions of coming up with an idea. I would get frustrated at myself because I didn't like the pace at which I was creating. If I could go back in time, I would just tell myself to not fight the process and to just flow through it.

Powers: Oh my god. I feel like it's things I would correct myself on. We've been talking about this a lot in interviews lately because of the time period. I guess for some reason it's a symbolic check point. And it feels long enough as a measurement to want to ask "What is different now, how do you feel now?" I think I regret so much of who I was.

I am a person who is self-loathing by nature anyways. I think that looking at myself 10 years ago, I hold myself responsible for so many things that I am unhappy with about my life now. I think I can really see the faults in myself and in the life I have and the things that I am unhappy about as being a product of me. So I really do wish I could go back and correct and adjust my attitude.

I think I could teach myself a few things that I am really happy our culture has created. I am a fan of PC culture. I think it is better than what we had before, better than being able to say something casually sexist, casually racist. I think for all its faults, at which I do believe there are many, I am really happy that words like toxic masculinity exist now. They shine a bright and important light on human psychology. I think it's helpful in our daily lexicon. I think if I could give myself an insight into the way our culture has changed, I would be a better person for it earlier on.

I am sure everyone feels this, but the older you get, the wiser you get; the more you realize how ignorant you are. With wisdom comes the sense of the extent of your own ignorance. I wish I could've taught that to myself earlier on. I would've made some more well-informed decisions and some less-arrogant ones.

Read: Jessy Lanza Is Still Trying to Look On The Bright Side

I would love to hear a little bit about each of your musical backstory; how you got into making music initially and how you two met.

Xayalith: My mom and dad immigrated to New Zealand, and I grew up listening to Lao music. And my dad was in a Lao community band, so I would often go and see him play. And I love singing, and really loved it at a young age. Music was something that I found myself finding so much joy in compared to anything else. I found ways to be a part of it; I was in the talent competition, choir, I would join a vocal group and drama classes so I could participate in the musicals. I was always searching for some ways to be a part of it.

I also took up guitar, I taught myself how to read music. I fell in love with alternative 90's rock music; PJ Harvey, Smashing Pumpkins. Then I enrolled into this musical college where I met Thom and Aaron, who was in the band, and we started making music together.

It was my first band ever, and it's been the only one. It was pretty unreal. Bu my search for wanting to pursue music I think I really followed my instincts and didn't give up on it. I think my instincts are pretty spot on most of the time. I was pretty tuned in to what I found joy in, and I felt it without knowing.

Powers: I mean, my musical history, is pretty standard to be honest, it is not super interesting. My dad played guitar, he is a musician. I think it runs in my family; we're very musical. I became a guitar player, a little metalhead at age 12. Little white suburban kid gets a guitar and you know, gets dreadlocks by 14. I was a typical—we would call them like a bogon down in New Zealand, which is like an Australian version of Bevis and Butthead. When I hit about my teenage years, about 15, I started getting into more alternative music.

And then I met Alisa, we were both still discovering alternative music culture. So the early Naked And Famous songs, they are somewhat a reflection of the things we were listening to at the time, the bands we were obsessing about. When we started making music we were still discovering ourselves as musicians and discovering what we liked and the kind of music culture that we wanted to participate in.

2006 is when Alisa and I started making music and going to gigs. We both worked at a record store and we were so involved in the music scene back then. Every gig that would come to Auckland, we would go to see. It is funny because I was just writing a list before of potential covers that I want to do. I was trying to put down songs that were influential around that time. There is a Bloc Party song, a Yeah Yeah Yeahs song, a Fyfe song. It makes me feel very nostalgic.

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With all the craziness going on in the world right now, what has helped each of you feel most grounded these days?

Xayalith: Getting enough sleep. I know it sounds really silly, but when I don't have enough sleep I don't feel like I can focus or perform to the best of my ability. But in times where I need to feel grounded I usually just exercise.

Powers: Alisa is a very grounded person.

Xayalith: Actually, you know what I do? I cook. That helps me feel grounded. I was on tour earlier in the year, so I hadn't been able to do that very much. But cooking and baking is something that helps me feel super grounded. Which is why I have gotten into making sourdough bread and I have things that I love to cook. Just the process of preparing everything, cooking everything, and the end product is going to be delicious. It always feels good to me.

Thom probably just plays video games.

Powers: I don't really have one thing that I do to stay grounded. Maybe reading. I think I am a grounded person by nature just by being very critical, by working on my critical thinking skills as a hobby. I am not a very smart person, I didn't go to university or get a degree in anything. Critical thinking is probably what keeps me grounded and realistic. Also, my partner keeps me very grounded when I get delusional, or worried about things.

I think when I am least grounded, I have a very unrealistic view, a very envious, jealous and comparative view because of the way music culture has shifted to this online content provider paradigm. Some days when I wake up and I feel negative, I just feel this immense pressure to be this content provider, which is something that does not come naturally to me, it's difficult. But some people, it just comes so naturally to them to put their unedited selves up on the internet. Some days I want to participate and it is really fun and I want to be a person who can get into TikTok. But other days I'm like "this is just empty narcissistic sh*t."

Xayalith: I feel like maybe it is just today. Today you're just not in the mood. Tomorrow you might feel differently. I think everybody feels the same way about social media. We fluctuate between wanting to engage in the conversation and then feeling like you can't keep up in the conversation and we don't want to be a part of it. Social media is this ongoing conversation and there are days that I don't want to participate in it, I can't be bothered. I feel like the mood you're in Thom is probably one that will fluctuate.

Powers: Yeah, you're right.

As a non-Black ally, why is it important for you to speak out and join the Black community in solidarity?

Xayalith: I think it's essential for us to be vocal and to use our social platforms to help amplify Back voices that need to be heard. Learning about anti-racism is necessary to implement change on a global scale, and we're learning every day. It requires a long-term commitment. We want the Black community to know that we stand with them, and we're listening.

Powers: I don't feel it's about whether it's important to us, but whether it's morally and ethically necessary. I don't mean to sound grandiose, but we feel (happily) obliged to participate. America has been good to us—we've made this place our new home. I think we feel a growing patriotism, although it's clear that this is still a global problem. We're under no illusions about the limits of our reach or social clout, but we can pile-on to the conversation and direct people towards the organizations leading the change; places like and

Read: Black U.K. Music Executives Call For Bias Training, End Of "Urban Music" Term

In your opinion, how can the music community at large contribute to dismantling racism?

Xayalith: I think the music industry at large is homogeneous. Perhaps we can change that with outreach programs to Black communities. This may create more opportunities to work at record labels, music studios, music management, concerts and events—careers in music that would apply to young Black adults who might otherwise be denied those opportunities. Action speaks much louder than words, and right now, action is needed. 

Powers: Uneven business models continue to earn the music business millions of dollars while passing on only a small amount of that wealth to artists. For example, the royalty split on an average major-label deal is 82 percent to the label, 18 percent to the artist. The music industry has been benefiting from and exploiting Black artists for a long time. Adjusting these antiquated models would help all artists, but also result in a considerable redistribution of wealth to Black artists—a tide that would lift all boats.

The music industry is corporate America—its goal has always been to grow and maintain its wealth. It knows the cost of everything and the value of nothing. For the music industry to change, it needs companies (as well as individuals) to prioritize art, culture, social equality and redistributing wealth, over unbridled capitalism.

I don't think we should underestimate the power of political correctness, i.e., the recent jettisoning of the term "Urban." I'm old enough now to see what a difference political correctness can make. There are plenty of words and ideas that can no longer be approached or used with casualness, which is a great thing.

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Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards


Find Out Who's Nominated For Best Rap Album | 2020 GRAMMY Awards

Dreamville, Meek Mill, 21 Savage, Tyler, The Creator, and YBN Cordae all earn nominations in the category

GRAMMYs/Nov 20, 2019 - 06:28 pm

The 2020 GRAMMYs are just around the corner, and now the nominations are in for the coveted honor of Best Rap Album. While we'll have to wait until the 62nd GRAMMY Awards air on CBS on Jan. 26 to find out who will win, let's take a look at which albums have been nominated for Best Rap Album.

Revenge of the Dreamers III – Dreamville                                                                        

This star-studded compilation album from 11-time GRAMMY nominee J. Cole and his Dreamville Records imprint features appearances from some of the leading and fastest-rising artists in hip-hop today, including label artists EARTHGANG, J.I.D, and Ari Lennox, plus rappers T.I, DaBaby, and Young Nudy, among many others. Recorded in Atlanta across a 10-day recording session, Revenge of the Dreamers III is an ambitious project that saw more than 300 artists and producers contribute to the album, resulting in 142 recorded tracks. Of those recordings, 18 songs made the final album, which ultimately featured contributions from 34 artists and 27 producers.

Dreamers III, the third installment in the label’s Revenge of the Dreamers compilation series, debuted at No. 1 on the Billboard 200 chart and achieved gold status this past July. In addition to a Best Rap Album nod, Dreamers III is also nominated for Best Rap Performance next year for album track “Down Bad,” featuring J.I.D, Bas, J. Cole, EARTHGANG, and Young Nudy.

Championships – Meek Mill

In many ways, Championships represents a literal and metaphorical homecoming for Meek Mill. Released in November 2018, Championships is the Philadelphia rapper’s first artist album following a two-year prison sentence he served after violating his parole in 2017. Championships, naturally, sees Meek tackling social justice issues stemming from his prison experience, including criminal justice reform. The album debuted at No. 1 on the Billboard 200, his second chart-topper following 2015’s Dreams Worth More Than Money, and reached platinum status in June 2019. Meek Mill's 2020 Best Rap Album nod marks his first-ever GRAMMY nomination.

i am > i was – 21 Savage

Breakout rapper and four-time GRAMMY nominee 21 Savage dropped i am > i was, his second solo artist album, at the end of 2018. The guest-heavy album, which features contributions from Post Malone, Childish Gambino, J. Cole, and many others, has since charted around the world, topped the Billboard 200 – a first for the artist – in the beginning of 2019, and achieved gold status in the U.S. As well, nine songs out of the album’s 15 original tracks landed on the Hot 100 chart, including multi-platinum lead single “A Lot,” which is also nominated for Best Rap Song next year. 21 Savage’s 2020 Best Rap Album nomination, which follows Record of the Year and Best Rap/Sung Performance nods for his 2017 Post Malone collaboration, "Rockstar,” marks his first solo recognition in the top rap category.

IGOR – Tyler, The Creator

The eccentric Tyler, The Creator kicked off a massive 2019 with his mid-year album, IGOR. Released this past May, IGOR, Tyler’s fifth solo artist album, is his most commercially successful project to date. The album debuted at No. 1 on the Billboard 200, marking his first time topping the coveted chart, while its lead single, "Earfquake,” peaked at No. 13, his highest entry on the Hot 100. Produced in full by Tyler and featuring guest spots from fellow rap and R&B stars Kanye West, Lil Uzi Vert, Solange, and Playboi Carti, among many others, IGOR follows the rapper’s 2017 album, Flower Boy, which received the Best Rap Album nod that same year.

The Lost Boy – YBN Cordae

Emerging rapper YBN Cordae, a member of the breakout YBN rap collective, released his debut album, The Lost Boy, to widespread critical acclaim this past July. The 15-track release is stacked with major collaborations with hip-hop heavyweights, including Anderson .Paak, Pusha T, Meek Mill, and others, plus production work from J. Cole and vocals from Quincy Jones. After peaking at No. 13 on the Billboard 200, The Lost Boy now notches two 2020 GRAMMY nominations: Best Rap Album and Best Rap Song for album track “Bad Idea,” featuring Chance the Rapper.

Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream

Brittany Howard

Photo: C Brandon/Redferns/Getty Images


Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz & More Join Small Business Live Benefit Livestream

Proceeds from the event will be go toward loans to small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses, via Accion Opportunity Fund

GRAMMYs/Jun 16, 2020 - 04:13 am

This Saturday, June 20, artists including Brittany Howard, Brandi Carlile, Leon Bridges, 2 Chainz and more will come together for Small Business Live, a livestream fundraiser event for small businesses facing challenges from the COVID-19 pandemic. 

Proceeds from the livestream will go to Accion Opportunity Fund to support small businesses founded by people of color, with additional support to women-owned and immigrant-owned businesses.

“Entrepreneurs of color are denied credit more often and charged higher rates for money they borrow to fund their businesses. We need to accelerate support to underserved businesses in order to reach our full potential,” Accion Opportunity Fund CEO Luz Urrutia said. “We have to decide what we want our Main Streets to look like when this is over, and we must act decisively to keep small businesses alive and ready to rebuild. This is a fun way to do something really important. Everyone’s support will make a huge difference to small business owners, their families and employees who have been devastated by this pandemic, the recession, and centuries of racism, xenophobia and oppression.”

Tune in for Small Business Live Saturday, June 20 from 4:00 p.m. to 10:00 p.m. EDT on The site also provides a full schedule of programs and links to watch the livestream on all major digital platforms. To learn more about Accion Opportunity Fund, visit the organization's website.

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Rolling Loud Festival Los Angeles Reveals 2019 Lineup

Doja Cat

Photo: Scott Dudelson/Getty Images


Rolling Loud Festival Los Angeles Reveals 2019 Lineup

Find out who's bringing the heat to the hip-hop fest returning to L.A. this December

GRAMMYs/Oct 2, 2019 - 12:11 am

Today, Rolling Loud revealed the massive lineup for their final music festival of 2019, Rolling Loud Los Angeles, which is set to take over the Banc of California Stadium and adjacent Exposition Park on Dec. 14–15.

This iteration of "the Woodstock of Hip-Hop," as the all-knowing Diddy has called it, will feature Chance the RapperLil Uzi VertJuice WRLDYoung Thug and Lil Baby as Saturday's heavy-hitting headliners. Sunday's headliners are none other than Future, A$AP Rocky, Meek Mill, YG and Playboi Carti.

L.A.'s own Blueface, Tyga and Doja Cat, are slated to perform, as well as representatives from the diverse rap scenes across the country, including Wale, Juicy J, Lil Yachty, Megan Thee Stallion, Gunna, Tyla Yaweh, Machine Gun Kelly and Yung Gravy.

The lineup announcement follows the successful wrap of Rolling Loud Bay Area in Oakland this past weekend. The event's flagship Miami event took place in May this year, and the New York and Hong Kong debut editions will both take place later this month.

Tickets for Rolling Loud L.A. go on sale this Friday, Oct. 4 at 11 a.m. PST. The complete lineup and more info on this event and their other fests can be found here.

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Iggy Pop Announces New Album, 'Free', Shares Title Track

Iggy Pop

Photo: Harmony Korine


Iggy Pop Announces New Album, 'Free', Shares Title Track

"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. But I also felt drained… I wanted to be free," the Godfather of Punk explained

GRAMMYs/Jul 18, 2019 - 11:47 pm

Today, GRAMMY-nominated punk forbearer Iggy Pop revealed the details for his forthcoming 18th solo studio album, along with its short—at under two minutes—yet spacious title track, "Free." The 10-track LP is due out Sept. 6 and follow's 2016's GRAMMY-nominated Post Pop Depression.

"This is an album in which other artists speak for me, but I lend my voice," Pop explains in a press release.

The statement notes jazz trumpeter Leron Thomas and L.A.-based electric guitarist Noveller as the "principal players" collaborating with Pop on this exploratory new project. On "Free," Thomas' horn and Noveller's guitar add layers of depth, somberness and exploration, as Pop's echoing voice cuts through twice to proclaim, "I want to be free."

Pop adds that his last tour left him feeling exhausted but ready for change, and the shifts eventually led him to these new sounds:

"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. 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. I know that's an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need—not happiness or love necessarily, but the feeling of being free. So this album just kind of happened to me, and I let it happen."

Post Pop Depression earned the former Stooges frontman his second GRAMMY nod, at the 59th GRAMMY Awards for Best Alternative Music Album. It was produced by GRAMMY winner Josh Homme of Queens of the Stone Age and as a tribute of sorts to David Bowie, Pop's longtime friend the producer of his first two solo albums, and was released shortly after Bowie's surprising passing.

As the press release states, "While it follows the highest charting album of Iggy's career, Free has virtually nothing in common sonically with its predecessor—or with any other Iggy Pop album."

You can pre-order and pre-save the new album now for the Sept. 6 release here. You can also check out Pop's new book, 'Til Wrong Feels Right, on Sept. 26.

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