I don't know of much that comes out of Ohio. Even a friend who grew up there admitted "Nothing's come out of Ohio except the New Bomb Turks." With the...

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I don't know of much that comes out of Ohio. Even a friend who grew up there admitted "Nothing's come out of Ohio except the New Bomb Turks." With the most original sound of any punk band I can think of, the New Bomb Turks have expanded far beyond the middle of America to spread their punk rock hybrid to fans everywhere yearning for something original. The closest thing I can even think of to describe their sound is to imagine the Rolling Stones going fast-paced punk. The New Bomb Turks play a tantalizing mix of ballsy rock and roll with a high-octane backdrop, and Erik Davidson's unmistakable voice does everything from twang to scream, but always excites. In true NBT fashion, this album was done at Ghetto Recorders, giving the band that garage sound that their releases tend to have. "Too Much" and "Turning Tricks" exhibit the quickness that NBT fans have reveled in, but other parts of this album seem to be slightly slower than previous records. Fear not; the energy is still unrestrained, and tracks like "Killer's Kiss" and "Continental Cats" still keep their edge despite the checked tempo. Even when they slow down significantly on "Your Beaten Heart," the lessons learned from classic rock mentors keeps the music powerful and unrefined. The songs don't try to take on lofty, vague issues, but keep with the Turks' tradition of addressing everyday ups and downs that the common listener encounters. "The Roof" reflects on better days, while "End of the Great Credibility Race" focuses on sticking to the D.I.Y. punk ethic in the modern world. On a sadder note, "Quarter to Four" addresses the difficulty with which Davidson handled his father's death in mid-1999. The New Bomb Turks might be a little more raw than other Epitaph bands, but give them a chance and you'll be hooked for good.

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