New Bomb Turks
At Rope's End

THE REVIEW

The New Bomb Turks come from Columbus, Ohio, and are among the top exponents of lo-fi punk of the nineties: “Destroy Oh Boy” their debut for Crypt, is without a doubt one of the best records of the genre.

After a second album almost as explosive, the Turks signed with Epitaph. And criticisms rained down because at that time Epitaph was the home of Offspring, and Offspring were the detestable flag-bearers of corporate-punk: they sold millions of copies of “Smash”, so they’re sellouts and turncoats, and “Smash” sucks and stinks.

For many, too many, the Turks wouldn't avoid the contagion, meaning they'll soon sell out and turn their coats. The first album for Epitaph, just a little softer than the two that preceded it, was the proof positive that they were finished.

But just as on the third day Jesus Christ rose again, the Turks only needed a few more months to resurrect themselves.

“At Rope’s End” is a bomb of a record and it buries all the know-it-all critics who were quick to write them off, without considering that the essence of the New Bomb Turks is of a much different consistency than that of Offspring.

The Turks return to thrash intensely, as in their debut days, firing off thirteen hyperkinetic and sonic punk’n’raw tracks that are hard to merely call abrasive and push the eardrums even of the faithful lo-fi followers to their limits. Now, if you really want to know where to direct your virginal ears and you don’t already know, I highly recommend “Minimum Wages Of Sin” and ”(The Cure For) The Common Cold Shoulder”; or aim randomly, because you'll still aim well. Or again, if you’re cowardly, aim boldly at “Veronica Lake”, where the Turks deliver a killer melody and chorus, for what is one of the best episodes of their entire career.

Devastating!

And that’s enough, because this is high-voltage punk and nothing else is needed to get the message.