Rowland S. Howard, Pop Crimes

By Ann Clarke

It’s not often that this happens, but. . . occasionally I find myself waiting for about ten years for an album to come out. Most people would give up hope by then, but if you like an artist enough, you always hold out for whatever they do. This would be the case with Rowland S. Howard. He’s one of those musicians I’ve pretty much had a hard-on on for since I first stumbled upon him.

So what did I actually stumble upon of his originally? Well, he was the guitarist of The Birthday Party, a band that made more than a lasting impression on me, one of those bands you’ll never forget because they weren’t just a band. . . they were a phenomenon! Listening to The Birthday Party was like being assaulted, but somehow. . . you liked the abuse. I still love The Birthday Party no matter what because their music is timeless and relentless.

With that said, I’m always alert to whenever former musicians of my favorite bands release something. Rowland doesn’t churn out a large amount of material. He’s not particularly prolific. However, what he lacks in quantity, he makes up for in quality! Rowland’s last record came out in 1999, the creepily-titled Teenage Snuff Film. . . but, that album was so fucking good I think I listened to it until the CD was unplayable! I had to track down another copy and I still listen to this one quite a bit, actually. So when I found out he was coming out with a new one this year, there was no way I would let this one go unnoticed!

I should note that Mick Harvey, also of The Birthday Party, drums on the album; he was also on Rowland’s last album (and interestingly enough quit The Bad Seeds last year). JP Shilo of The Hungry Ghosts plays bass on the album, as well. Now without further ado, it’s time for me to dissect his latest record, Pop Crimes. There’s no eloquent way to say this, but. . . I fucking LOVE this album! I haven’t had Pop Crimes for long (as it just came out in mid-October), but I can’t stop listening to it!

It starts off with a duet with Jonnine Standish of HTRK, which is aptly titled “(I Know A Girl Called) Jonny.” I can honestly say, this song is extremely catchy, and very lusty. Basically, my first impression was that Rowland and Jonny just need to fuck and get it over with already! Especially with the overlapping lyrics: Rowland croons, She’s my narcotic lollipop and then Jonnine interjects, I put my fingers in his mouth. . . and it is just ridiculously HOT! They exchange lyrics of equal admiration. It’s not really a love song. . . but a lust song! (I would say that the admiration focus is on Jonnine, who sounds like she’s more enamored with herself, actually.) I have found myself singing along with this song easily because it sticks in your head!

The next track is “Shut Me Down,” which is fucking gut-wrenching lyrically. It is wistful and full of regret. It does, however, sound a lot like the song “Autoluminescent” from the Teenage Snuff Film album, but with hapless lyrical content.

The third track is one of two covers on this record, “Life’s What You Make It,” originally by Talk Talk. That was a pretty cruddy song to begin with, so I can’t really say it’s any better than it was before; it’s just a different interpretation of it and probably my least favorite track on the album.

Onward, we go into the title track, “Pop Crimes.” FUCK! This is an awesome track and maybe my favorite one on the whole album! Lyrically, it’s cynical and misanthropic, but I agree with everything Rowland is bitching about (which is how fucking ugly this world is)! The fuzz bass groove has such a catchy hook, too. I can’t get enough of this one!

Next one is the second of two covers, “Nothin’,” originally by Townes Van Zandt. Based upon the bleak lyrical content that Rowland is capable of, this song sounds like he truly could’ve written it himself! It’s another gut-wrenching and unflinchingly honest tune of self-loathing and regret. . . a tear-jerker!

“Wayward Man” ties in well with the themes of “Shut Me Down” and “Nothin’,” but it rocks! It’s more self-deprecating than self-hating, but has a humorous sneer lacing around the edges.

“Ave Maria” is not the traditional song we all know, but a specific scenario involving that song. In this case, Rowland speaks of his wedding day. . . but by the lyrics, it seems pretty clear its a wedding that wasn’t meant to be. It’s a vulnerable and honest song of self-blame.

The finale is called “The Golden Age of Bloodshed”. . . which is rough around the edges rock, with Rowland turning into a soothsayer. . . spitting out imagery that you’d come to expect from an Ozsploitation filmmaker! The music heaves. . . and the listener writhes. . . commanding you to go “Rowland around” in his stuff! And that’s exactly what I’m gonna do! Pop this CD back on. . . and. . . you know. . .

Pop Crimes is 40 short minutes of bliss!

Pop Crimes is out on Liberation Music. It is available for order via JB HiFi Online, iTunes, and Sanity Entertainment. For more on Rowland S. Howard, check out his Official MySpace page.