!!!Get Certified!!!!
CPR009 "Plexi 3, Milwaukee’s finest three-piece band, continues to crank out solid punk and garage-inspired pop with their first full-length “Tides of Change”. The band features Wendy Norton on guitar and vocals, Adam Widener on bass and vocals and drummer Ryan King. Together they write two-minute garage-pop songs and play them live and in the studio with all the ferocity of yesterday’s punk and today’s powerpop bands. The title track is the real gem here, as it is a great example of how the band mixes its influences to create a sound of their own. It features Norton’s vocals and nifty guitar playing, both of which are major selling points of the band’s first three singles. Another Norton-fronted song, “Stop & Listen,” is a quick tour-de-force of punk goodness reminiscent of an earlier Plexi 3 tune, “Stabbing Fantasies.” “Timebox,” a single the band released early this year on Full Breach Kicks Records and the last track on this LP, featured a nice surprise on its b-side in the Windener penned and sang tune “What Love is For.” The Monkees-inspired song was a welcome preview of things to come, as on this LP Norton shares vocal duty with Widener. He sings six of the album’s 13 songs, including an Everly Brothers cover and a sing-along with Norton called “Didn’t Really Matter.” Norton still contributes heavily beyond her guitar playing on the songs fronted by Widener, as she adds surf-pop backup vocals reminiscent of The Beach Boys on “Heart I Had,” a song written by King, and plays piano on “’Til It Comes True.” Widener’s vocal talents are not a surprise this time around, since the band let that cat out of the bag earlier this year. If there is a surprise, it’s “Little Vacation,” a pretty tune that’s mellow in a Joe Jackson or Helen McCookerybook kind of way. Other highlights include “Menial,” a brutally honest assessment of the common worker’s life (“You’ll make enough just to get by/You’ll work for us until you die”) and “P.O. Box 9847,” a genuinely sweet love song (“Some say it’s a dying art/Sending mail from the heart”). A quick glance at the liner notes might draw your eyes to a familiar name, as the band thanks Derek Lyn Plastic, a criminally underrated Atlanta songsmith. The band stayed at DLP’s place last summer when their vehicle broke down in Atlanta, and they were back at the songsmith’s home in May to contribute to a couple of tracks for his upcoming LP.
The People's Temple
"You Don't Know" 7" EP, 2010.
500 BLACK VINYL WITH RANDUMBLY MIXED COLORED COVERS!
NOW TAKING PRE-ORDERS HERE
THE FIRST 50 ORDERS COME WITH A LIMITED EDITION MAGNET!!!!
RELEASE DATE: MARCH 15, 2010
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CPR012
Alicja-Pop (Alicja Trout)
"Shining Apple" b/w "Walking The Cow" 7", 2010.
COMING IN MARCH!
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CPR011 (split label release with FDH Records)
Tokyo Electron
"AZ238" LP, 2009.
"Four years after its self-titled debut album on Jay Reatard’s Shattered Records, Phoenix's Tokyo Electron has finally returned with its much-anticipated sophomore, full-length “AZ-238.” A co-release from FDH Records and Certified PR Records, the album is the fuzzed-out brainchild of Ryan Rousseau, on lead vocals and guitar with help from guitarist Steve Sleeze, bassist Daniel Ricardo and drummer Kyle Cunningham.
More textured, introspective and sinuous than the first record, “AZ-238” finds the fearless Arizonans laying down 10 tracks of blistering garage rock ‘n’ roll that move nimbly from lithe psychedelic behemoths like “Don’t Need You,” with its reflective and delicate opening, to full-frontal garage rock attacks like “You Can’t Save Me” and “You Don’t Remember” (which has a distinct Billy Childish influence). “I’ll Be Back,” with its rolling, almost country and western rhythms and haunting lead guitar riff, is also a standout. Rousseau's wounded vocals and the band's brash instrumentation conspire to create an atmosphere of musical malaise and disenchantment that carry the album forward and aloft like desert thunderclouds threatening to douse the dry ground below.
The band’s live shows have grown sparse with Rousseau devoting more time to his other act, Earthmen and Strangers, and drummer Cunningham leaving Phoenix, making it quite likely that this will be Tokyo Electron’s final release. It’s only fitting, then, that the album is named for a desolate dead-end 20-mile country highway in Arizona’s Maricopa County that terminates at the junction with State Route 347. 3 stars (out of four)." - Jason Gelt (The Los Angeles Times)
500 COPIES VINYL (1st Pressing)
YOU CAN ORDER YOUR COPY HERE.
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CPR010
John Wesley Coleman III
"Steal My Mind" LP, 2009.
"Judging by the cover (dude in Lester Bangs shirt pointing two revolvers at the camera) and song titles (“Lawyers Guns & Money”, “Liquor Store”, “Threw It Away”, etc.), I would have guessed this some Confederacy of Scum-style, “FTW, you PC bastards” slab of “punker than thou” punk rock. No way, not a chance. The “Lawyers Guns & Money” is a Warren Zevon cover and you can hear his influence spread across the album, as well as that of Dylan, Peter Laughner, Richard Hell, and other punk singer-songwriter types. One song in, I get to (thankfully) dismiss the punk posturing of the record cover and settle into a pretty damn good record of “adult” punk rock, something you might hear coming out of the Greater Columbus Senior Center. Side one is so fab that it is over before I want it to be. Side two starts off a bit slow, but picks up by the end, finishing with a Lester Bangs song. And, I am playing this one a few more times.
Well, worth seeking out and very much recommended." – Z Gun Magazine
"Our Golden Boys brother gone off the deep end! Nice mix of rockers and bourbon ballads!!!
Perfect music for pizza making! RECOMMENDED" - Goner Records
500 RANDUMBLY MIXED COLORED VINYL
YOU CAN ORDER YOUR COPY HERE.
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CPR008
Love City
"I Can't Stop" 7" EP and bonus CD, 2009.
- Rock Around The Blog
"Vox driven, punkified ? & the Mysterians/Love, Six-Oh inspired tunes which means nothing new to the ears, but very very very good! –Scott Soriano (SS Records)
"Hailing from Philly, Pa., a town which both holds the distinction of being the called both "The City Of Brotherly Love" and "Hostile City", Love City do the haunting and possibly disturbed garage rock thing in a Lollipop Shoppe/13th Floor Elevators vein. They also l...ay down a lot of spine chilling organ sound through all 4 songs. They definitely have immersed themselves in the sights and sounds of the era but, thankfully, haven't thrown themselves completely head first into "Music died in '67" purist kind of way. Not restricting themselves to that gutter they end up being reminiscent of something like Love if they came along during the 90's trash rock 7inch explosion...." - Smashing Transistors
"You’ve got some rocking, old school reverb-washed pop tunes here. The organ makes the four songs on this EP stand out from all the rehash garage rock music today. The tune, “The Other Side” kicks hard with bashing riffage interplay from both the assaulting guitar and organ.
100 RED VINYL (WITH ALT. SILKSCREENED COVERS) SOLD OUT!
500 RANDUMBLY MIXED COLORED VINYL (ON REGULAR SILKSCREENED COVERS)
ORDER ONE OF THE RANDUMBLY MIXED COLORED COPIES HERE.
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CPR007
Plexi 3
"Tides Of Change" CD, 2009.
If you like garage rock, oldies or that old “Nuggets” compilation, do yourself a huge favor and pick up this LP/CD, as it is a fresh take on some timeless sounds." - Bobby Moore (The West Georgian)
500 CD COPIES MADE, YOU CAN ORDER ONE HERE.
LP VERSION AVILABLE FROM BACHELOR RECORDS.
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CPR006
Reacharounds
"Rocks Off" 7" EP, 2008.
"With CV's that include, for Wendy Norton Plexi 3 and the Flips and for Roy the Evolutions, M.C. Monkey & Ape With Attitude and Kryptonite Records, the Reacharounds were a project they had together at the start of this century. Splitting guitar, vocals and drum duties between the two of them the sound is all about trash-n-blast fed up sped up garage punk of the Nth degree. Wendy sounds like she's chewing gum and spitting on people at the same time in "3 Minute Intervals", "Synthetic Soul" & "Cut Out Bin and turns the tables all around on the Stones "Rocks Off" making it sound like Penetrators backing up a 13 year old Joan Jett fan.
Roy sounds like he's bursting veins and busting blood vessels in his eyes whether it's beating up a drum kit or guitar and teeters of giving himself an aneurysm when screaming the words to the Teenage Queers "Slave To Mind (Fuck Power Pop)""- Smashing Transistors
"Six blasts of Samoanesque p-rock from a turn-of-the-century band of Roy Oden of Last Sons of Krypton and "Human Zoo" fame. Raw, loud, '90s out of the garage style that would have fit fine in that era. 100 pressed." – Scott Soriano (SS Records)
"You know how it goes, sometimes you find a great record at your local shop, sometimes a friend introduces you to it or you buy it because it's on that oh-so-great-label. With this one, I got a comment from a label on my myspace-page, answered it , got a nice mail back and listened to their releases.
They only had two records available , I liked what I heard and bought them.
And DAMN! I just can't stop playing that Reacharounds 7"!! What a great a great punk rock record!!
The Reacharounds is Roy Oden (the Evolutions, Kryptonite Records) and Wendy Norton (Plexi 3, the Flips, the Lookers), both play guitar and drums and sing (though Roy only sings on Fuck Power Pop). The songs were recorded in 2000/2001 but never released because they decided to spent their money on something else. I'd say too bad, because this record really kills, but I guess all of you own some of those awesome Kryptonite Records releases ... ;-)
Anyway, the Reacharounds play a primitive, lo-fi recorded punk rock with mostly female vocals, the 7" has 6 songs on it, it comes in black or clear vinyl and if that doesn't get you already they did the best fucking Rolling Stones Cover-Version EVER ! Hell , I didn't know Mick Jagger was a Punkrocker, but listen to the Reacharounds version of 'Rocks Off'!!" - Roman D. (GGGG-Go-Action!!!)
"This is some newly unearthed ex-Last Sons of Krypton digs. I don’t see a boatload of semblance to that shtuff, caution-to-the-wind wise at least, but it’s clear Roy never ceased playing archetypal in-the-red garage – full-throttle, no bullshit (or all bullshit depending on how big/small your brain/balls are) KBD punkitude of that holy saga’s more competently galloping tunes, following in the footsteps of the more apt of our beloved fuckhead forefathers. “3 Minute Intervals” is a herky-jerk pogo-waiting-to-happen. “Synthetic Soul” wins the award for finest rendition of that cat-thrown-from-a-pickup scream that entered punk’s sonic repertoire with the Petticoats’ “Normal” and stuck around. “Rocks Off” throws Jagger down the stairs. A few others with equally dumb lyrics and about as much respect for clean and sheen as a car overflowing with undocumented ranch hands. Not too shabby." - BG (Terminal Boredom)
"Trashy, no-frills punk rock, plus Stones and Teenage Queers covers.
Don’t normally like two-member bands, but they do what they do well." – Jimmy Alvarado (Razorcake)
100 CLEAR VINYL (WITH WHITE INK ON BLACK SILKSCREENED COVERS)
200 BLACK VINYL (WITH BLACK INK ON WHITE SILKSCREENED COVERS)
100 BLUE VINYL (WITH BLACK INK ON BLUE SILKSCREENED COVERS)
100 GREEN VINYL (WITH BLACK INK ON GREEN SILKSCREENED COVERS)
ALL EDITIONS ARE SOLD OUT!
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CPR005
The Blowtops
"64 Teeth" b/w "Megalomonkey" LIMITED EUROPEAN TOUR 7", 2007.
"Every time the Blowtops put out a record, half the Garage-Punk/Termbo-Nerd community complains about how they miss the OLD Blowtops while the other half realized long ago that straight up garage rock is, well...ahhh…yeah. If you've been a fence-sitter with them before, this'll knock you off in the dirt, guarantee. I can't see universal love anytime soon. I enjoy a good challenge when listening to a record. That said, I'm all for tracks like this here "64 teeth". The kind of tune that if played live (say, at the Double Down in Las Vegas) could instigate a bottle-riot. Shit comes across like Suicide opening for Costello. Head scratching bad vibe & a good time equally. It starts with a simple organ tone. Next comes the robotic-funeral march. This rapidly stumbles into a drum-roll fist fight....and suddenly...disconnect. Sputter. Black Juju. Dialtone. And BLAM!! It comes crashing and yelping back into action...whoah. This is amazing. Vocals are off arguing with themselves somewhere down the hall.
The guitar is sustained wails of strangled singular notes.
Is it doing it again? Hell yes it is. Here it comes. Stop and Bzzzzzzzzzzzzzzzz (etc.)
Dead tone again.
How long does this go on for? Long enough to make you check what’s in that brownie you just ate. Self-sabotaging rock n'roll. Paranoia via phonograph. Sign me up. This heart needs resuscitation. The flipside offers up "Megalomonkey" which is relatively normal in comparison to what has just happened. Feels like you played the Volt LP with a bad belt-drive. Fucked yet danceable no-wave with a Gothic take on the hardcore “breakdown", all sandwiched between a steady industrial ping. Love the dueling vocals. It's nice to hear Traci's say in this sausage fest. Great stuff as always.
Has Thomas Savage heard this yet? Someone really should check on his well being.
500 copies, 200 on red vinyl." -RSF (Terminal Boredom)
"Picking up the challenge issued by Terminal Boredom last month and checking out the Blowtops new single. Okay, maybe I never gave their new direction much of a shot. I liked a few songs here and there, but mostly the hard/weird sound turned me off. It's a little bit of the same here but I like how it's actually sounding a lot like their early singles again. Scary and cool. Still don't fall for this stuff wholeheartedly... but this is definitely the best I've heard from them for a good long while."
- Thomas Savage (Savage Magazine)
"Imagine a schizophrenic, organ-infused musical jaunt that wails and wallows in nonsensical lyrical tantrums and you’d have what this two song 7” sounds like. It’s actually refreshing to step outside the power pop/ pop punk side of things where my ears spend most of their time. “64 Teeth” and “Megalomonkey” both have that post, post punk mad scientist weirdness vibe to them. If you’re into Erase Errata or perhaps
200 RED VINYL
300 BLACK VINYL
WE JUST FOUND A "HIDDEN" BOX OF THESE.
YOU CAN ORDER ONE OF THE BLACK VINYL COPIES HERE.
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CPR004
The Krunchies
"Cameltoe Patrol" 7" EP, 2006.
"Man, who would've though that we'd have not one but two records referencing camel toes this early in the year. Crazings. At least the Krunchies don't do an actual song using the camel toe motif though...anyway, The Krunchies, Chicago's great unsung band, as many will tell you. I've always enjoyed them live and on record. On this one they nail three out of four tunes. They really have a weapon in Amanda's voice, and they know how to use it. "Tornado of Stupidity" trades off vocals perfectly and has a neat little guitar line. "Take it All" actually reminds me of a Big Boys tune for some reason (excepting the vox part, you know...), maybe because The Krunchies inhabit that pleasant middle ground betwixt actual hardcore and actual punk rock that the Big Boys seemed to be so comfortable dwelling in. A-side is all aces. On "Attack Attack" I think the rhythm section goes too fast for their own good and they kind of lose it. The "Aaron Cometbus..." tune is a nice and frantic ripper though, with Amanda only on vox in all her cape wearing glory. Nice little record from the little band that could.
Scum stats: first press of 300 on black and second press of 200 on clear.
Both have same nice-looking sleeves... Hand-numbered." - Rich Kroneiss (Terminal Boredom)
“Aaron Cometbus You Ain’t” was played on the very first Razorcake Podcast!
25 CLEAR VINYL LIMITED SXSW 2006 EDITION
175 CLEAR VINYL
300 BLACK VINYL
ALL EDITIONS ARE SOLD OUT!
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CPR003
Dirty Needles
"Justine's A Junkie" 7" EP, 2005.
"Another installment in the Roy Oden recorded legacy, here teamed up again with his LSOK mate and Ape with Attitude, Mr. Brad X. Two Oden-penned (s)hits, the A-Side being the Ramones-ified trash of "Justine's A Junkie", and the flip containing the more Samoans-like drug addled garbage-punk of "Burned Out", plus an uncredited "mystery cut". A must-have for Evolutions/Last Sons fans, but not quite as obnoxiously good as the MC Monkey EP. Scum stats: first pressing was 100 on clear and 200 on black, sold out. Repress of 100 on red on it's way." - Rich Kroneiss (Terminal Boredom)
100 CLEAR VINYL LIMITED EDITION 1ST PRESSING
200 BLACK VINYL 1ST PRESSING
100 RED VINYL 2ND PRESSING
100 CLEAR VINYL 3RD PRESSING
100 GOLD VINYL 4th PRESSING
100 RANDOMLY MIXED VINYL WITH RANDOM LEFT OVER COVERS
ALL EDITIONS ARE SOLD OUT!
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CPR002
Small Hole Adapters/Suave Motherfuckers
split 8", 2004.
"How's this for retarded? Band presses up 75 copies of a square, see-through plexi-like 8" record, via some New Zealand record "plant." It's possible Brad X may have a few left, so I thought I'd mention it, even though the likelihood of this showing up at the local record store is nil. Both bands are Brad X, his wife and Steve Smut (Certified PR Records), on different singplay instruments over differing time periods. The Suave Motherfuckers' side is great trash worthy of members' previous output (Last Sons of Krypton, Evolutions, Smuts, etc.). Three great & catchy trash punk tunes followed by what sounds like the blues-instro track left off the Frantix "My Dad's a Fucking Alcoholic" single. The Small Hole Adapters side is most noteworthy for the first track (recorded a week after the incident) making fun of September 11, and a totally blown-out inepto-version of "Pill Popper" (pts. 1 & 2). "Blackout" steals from Gary Numan's "Cars." Cool record...good luck!" -Todd Kellner (Terminal Boredom/Tricknee Records)
75 CLEAR VINYL 8" square shaped
SOLD OUT!
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CPR001
The Smuts
"She Got Me Hot" 7" EP, 2001.
350 BLACK VINYL
SOLD OUT!
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