Howard wasn't exactly prolific after the Birthday Party split in the '80s. Teenage Snuff Film is actually a diary in many ways of disappointment, self-destruction, desperate behavior, and ravaging heartbreak, much of it ending in death or narratives related from beyond the grave. But Howard was largely silent after 1992, at least until the issue of his excellent Teenage Snuff Film in 2000. He also formed These Immortal Souls, who released a couple of excellent records. Howard, who was a founding member of the Birthday Party, Nick Cave's Bad Seeds, and Crime and the City Solution, has one of the most … He worked a lot in that decade as a founding member of Crime & the City Solution fronted by Simon Bonney, and he collaborated with a host of artists including Nikki Sudden, Genevieve McGuckin, Barry Adamson, Jeremy Gluck and, most famously, Lydia Lunch. The originals reveal Howard in fine form as a "pop noir" songwriter, from the opener "(I Know) A Girl Called Jonny" (with Johnnie Standish on duet vocals) all the way through to the album's true jewel "The Golden Age of Bloodshed," at its end, with plenty of stops between. There is a small string section that's put to good use as well. The album is a slow, stellarly recorded collection of rough-'round-the-edges rock, with Howard in better voice and showing more energy than on any post-Birthday Party record. He was emerging from his long exile near the end of the decade with guest appearances before recording Pop Crimes in early 2009 with Mick Harvey on drums and organ, and J.P. Shilo on bass (save for a couple of tracks) and violin. This is the album on which Australian guitarist and songwriter Rowland S. Howard finally turns up after retreating back to the homeland after a dismal stay in London and the complete dissolution of his band These Immortal Souls. That too, is on full display here: check the way he uses both James Burton and Duane Eddy in the title track, early-'60s girl group balladry filtered through Gothic country to create a suspenseful, dark sensuality in the opening cut; plodding "Ghost Riders in the Sky"-esque country & western, loneliness, and thick wall of noise darkness in "Nothin'," and then there's the jumbled feedback, fragmented power chords, and slippery, sparse lead lines on "The Golden Age of Bloodshed" -- that also contains some fantastic violin playing from Shiloh and the finest lyrics in Howard's catalog. As for the music on Teenage Snuff Film, it's a long, roiling howl of pain, wrought from the place where rock & roll loss and grief meet blues textures and near-gothic soundscapes (and we are not talking white makeup here). But Howard pulls it off righteously. As Howard spits out those last words, a wall of guitars descends into the mix and punches through any memory of the words. On "Breakdown and Then..." Howard speaks to the object of his affection and disgust through a strain of slowly swirling guitars: "crown prince of the crying jag/stuffs a towel in his mouth to gag/oh my darling I never knew/how hard it was to get rid of you/I smashed our virgin date/how did I reach that state/but I did it began and then/here comes that breakdown again." AllMusic Review by Thom Jurek [+] This is the album on which Australian guitarist and songwriter Rowland S. Howard finally turns up after retreating back to the homeland after a dismal stay in London and the complete dissolution of his band These Immortal Souls. When she joined forces with guitarist Rowland S. Howard for 1991's Shotgun Wedding, it was clear that Lunch hadn't adopted a more cheerful outlook. The eight-song set includes two covers, including a fantastically moody, hypnotically expressive reading of Talk Talk's "Life's What You Make It." Lydia Lunch first attracted the attention of punk and new wave audiences in the late '70s, when she sang lead with the very underground Teenage Jesus & the Jerks (best known for their tortured 1979 single "Baby Doll"). This alternative rock gem is one of Lunch's greatest achievements. He worked a lot in that decade as a founding member of Crime & the City Solution fronted by Simon Bonney, and he … It is a tragic irony that Rowland S. Howard's finest solo work was released a mere two months before his untimely death from liver cancer -- he was waiting for a transplant. On Pop Crimes, Howard's songwriting uses classic elements from early girl group rock, country, and film music, creating infectious melodies that are then often bent by his words to create mood, tension, and texture; they end up sounding temptingly dangerous: think Lee Hazlewood, Ennio Morricone, Doc Pomus, Lou Reed, Phil Spector, and Leon Payne all rolled into one. AllMusic Review by Thom Jurek [+] It is a tragic irony that Rowland S. Howard's finest solo work was released a mere two months before his untimely death from liver cancer -- he was waiting for a transplant. Songs like "Endless Fall," "Black Juju" and "Burning Skulls" are as morbid as they are captivating, and a superb remake of Led Zeppelin's "In My Time of Dying" fits right in. In Lunch's hands, the Zep classic loses its bluesy heavy metal appeal and acquires an eerie folk/gothic quality. SUDDEN,NIKKI / HOWARD,ROWLAND S. Songs Sort by: Bestselling. Find release reviews and credits for Shotgun Wedding - Rowland S. Howard, Lydia Lunch on AllMusic - 1999 - Lydia Lunch first attracted the attention of punk… Always one who liked her music dark and troubling, Lunch never appealed to mainstream rock tastes, but has enjoyed a small cult following. Teenage Snuff Film is first offering since 1992, and it's a gorgeous wreck of an album. Howard wasn't exactly prolific after the Birthday Party split in the '80s. The only feeling is one of dread. This is an awesome comeback. Howard plays almost everything here, but is aided on bass by Brian Hooper and on drums and organ by Mick Harvey on a couple of cuts, plus a couple of string players. Howard's rootsy panoply of riffs, vamps, and single-string razor blade tricks are in evidence everywhere, even on the Phil Spector-meets-Lee Hazelwood track "She Cried." Pop Crimes may be Howard's last will and testament, but as such it's a physically forceful, deeply emotive, dramatic finish; full of memorable songs and unforgettable moments that make it a high-water mark in Australian rock. And this is how it goes unrelentingly. Harvey's drumming adds a real depth and dimension to the mix. Find Rowland S. Howard bio, music, credits, awards, & streaming links on AllMusic - Australian guitarist whose blunt, reverb-drenched…
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