THE NEW BOMB TURKS “!!DESTROY-OH-BOY!!”
20th ANNIVERSARY DELUXE EDITION LP!
Super-deluxe GATEFOLD edition crammed with pix and liners by John Petkovic (Death Of Samantha, Cobra Verde) and a slew of musician fans, PLUS inner-sleeve with LYRICS to one of the GREATEST punk rock albums EVER, baby!
PLUS ‘TAPEWORM BLUES’ A 6 SONG 1992 DEMOS 10”!
CRUDE, RUDE, and LOUD punkrock blort recorded 4 months prior to the epic “!!Destroy-Oh-Boy!!” sessions in a dank basement in Columbus. TWO never-heard originals - “TAPEWORM BLUES”, “DRUG CHICKS” plus 4 cuts later re-recorded for “D-O-B”. LINERS by Irving Azlik, Jr, much-renowned industry head.
BOTH RELEASED JULY 23RD THROUGH CRYPT RECORDS!
20TH ANNIVERSARY SHOW IN COLUMBUS OHIO JUNE 29TH!
Get tickets here: http://newbombturks.brownpapertickets.com/
July 4th - Oslo - John Dee - Norway
July 5th - Stockholm - Debaser - Sweden
July 6th- Helsinki - Kuudes Aisti Festival - Finland
July 7th - Gierle - Sjock Festival - Belgium
Much in the same way that people of a certain age can tell you where they were during the Kennedy assassination, I can easily recall the first time I ever heard !!Destroy-Oh-Boy!! It was early 1993, and I was one of the infamous “shitworkers” at Maximumrocknroll in San Francisco. The way it worked for those of us who reviewed records each month, was that sometime before the constantly looming deadline, you’d make the trek to the MRR house in Noe Valley, find the records that editor Tim Yohannan has assigned to you, and listen to them right there, generally writing down the first thing that came to mind, as the records – which for some reason Tim insisted putting green duct tape on the three sides of the jacket that didn’t open – never left the premises. On this particular day, I was listening to whatever has been delegated “LaVellaish,” which generally meant anything on Sub Pop or Am/Rep, when Tim walked into the room and said, “Come with me.”
He lead me up the stairs, and right out the front door to where he parked his powder blue Volvo wagon. “Get in, you gotta hear this.” Confused, I asked him why were going to listen to something out in the car, to which he simply said, “It’s the only place where we can play this LOUD enough!” and proceeded to pop in a cassette of !!Destroy-Oh-Boy!! Before I had even settled into the passenger seat, the opening guitar riff of “Born Toulouse-Lautrec” came pouring out of that poor Swedish imports speakers, and Tim had already lit a cigarette that he was dragging on as if his life depended on it. It wasn’t until well into “Tail Crush” that I managed to shout “Who is this?” in his general direction. He lit another cigarette, and with a look that was a cross between a proud parent and a juvenile delinquent that had just knocked off a liquor store, yelled “THE FUCKING NEW BOMB TURKS!”
I had heard of them of course, I even had one of their singles, but it hadn’t prepared me for what I was hearing now, and certainly not at this volume. As the songs flew by, I carefully watched Tim’s body language. He was rocking back and forth in the drivers seat, holding yet another cigarette in one hand, while occasionally pointing to the tape deck at what he must have considered crucial moments. By the time “Dragstrip Riot” came on, I was doing the same thing, completely caught up in the moment. Occasionally, like at the beginning of “Runnin’ On Go,” he would reach down and turn it up EVEN MORE, which under any other circumstances would have had me begging for mercy, but it somehow just made sense to keep turning it up. As we listened, the car continued to fill up with his cigarette smoke, but he didn’t dare crack a window for fear of a neighbor complaining about the noise. By the time “I’m Weak” came on, I really was weak, understandably lightheaded in that smoke-filled and deafening environment, but I wouldn’t have stepped out of that car for anything. It was just one of those defining moments in life that you know is significant even as it’s happening.
By the time the Turks finally played in San Francisco, the hype on them and their debut LP had reached everyone who was anyone in the City by the Bay. It was a free, Sunday afternoon all ages show at The Bottom Of The Hill, and Gaunt were also on the bill. To say that the place was packed would be an understatement, in fact it’s safe to say that it’s still the biggest crowd I’ve since there before or since. As much as I loved Gaunt, I almost felt bad for Jerry and the boys because the assembled mob was clearly there to see if the New Bomb Turks could live up to the hype, and seconds into their set, we had our answer. Between Eric jumping up and twisting his body mid-flight while spitting out the now familiar lyrics, to Jim and Matt dug in like World War One-era trench fighters delivering a sonic barrage not unlike mortar fire, the place went absolutely insane.
At one point, I excitedly jumped into the air myself, and the joint was so packed that the crowd crushed in around me and I was suspended a couple of feet up in the air, my feet no longer able to make contact with the ground. As the room moved from side to side, I was whipped around with it, until I was finally able to find the floor again, but not before I made eye contact with Tim, who was standing near the side of the stage, laughing his ass off at my predicament and the entire situation in general. The rest is history I guess, Eric started writing for Gearhead, and many years later I had the privilege of putting out their last studio LP on my own label, and going out on the road with them on their last full US tour. But it all starts with !!Destroy-Oh-Boy!!, so thanks boys for making one of the all time great rock and roll records, and thank you Tim –wherever you are – for being so totally and completely dedicated to everything it stood for. - Mike LaVella
“Near as I can tell, there are only two ways to make “classic” records. Method one is to do something that has never been done before. Do something that nobody can say sounds like anyone else. The only other way I can think of to record a true classic is to take an already established music and stretch it farther than anyone else by putting yr own personal fingerprint on it and doing it totally fucking flawlessly. Impeccable zero-tolerance spotless pure perfection. It happens more often, but only because there are only so many things you can do with one kind of music. There’s a fine line between jealousy and ambition, nihilism and individuality, hedonism and pleasure seeking, pessimism and caution, vengefulness and justification, obsession and lust; the New Bomb Turks don’t walk that line – they run, jump, do cartwheels, and moonwalk on it while remaining thoroughly modest the whole time… How any band could just get this fucking gone and still be acutely aware of what they’re here for and what they want blows my mind, and this record is proof that they can do it at least 15 times in the two days they took to record this whole thing. If you’d given Jimmy Lee Swaggart some PCP, three nubile teenage girls and a swank-ass voice, sooner or later he’d have formed a band just like this. This thing is just so goddamned life-affirming that I’ve had it for six days and I still play it at least eight times a day. And I haven’t listened to anything else, either. If you don’t jump around to, sing along with and generally love this record, you’re wrong – you are wrong. Totally fucking classic.”
- Ryan Stotz, Rex Enduction Hour
For press inquiries, please contact Jo Murray
email@example.com 917 450 4387
Follow the band on their website, Facebook page or Twitter: