"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 RANDUMBLY MIXED COLORED VINYL
200 BLACK VINYL with ALTERNATE HAND GLUED COVERS
RELEASE DATE: December 1, 2009
John Wesley Coleman III
"Steal My Mind" LP
"This thing has subtly become one of my most-listened to LPs of recent vintage somehow. Not sure how it happened. It's a real sidler. A go-to record for when you're just sitting around drinking and smoking cigarettes with a couple pals. It pulls up a chair along with you and takes a nip and a drag and gets comfortable. Sort of what you'd expect from a guy who covers Warren Zevon and Lester Bangs. Boozy and sun-baked rock-n-roll Americano played loose and gutsy. I think "Steal My Mind" is actually stealing a J.Mascis guitar hook. Actually reminds one of the Meat Pups in passages and surprisingly poppy in a rough-n-tumble way. What I wanted Golden Boys to sound like a lot of times. "Bad Lady" is the perfect combo of sax, beer and shitkicking. Country-singed and essentially turkey-free. "Tonight" opens with throbbing style and "Liqour Store" closes the first side with what I can only call completely stoned Seventies pop-rock. Depressing at times, yet upliftingly so in some strange way. I'm going to get a lot of use out of this LP over the summer. I can already smell the warm dusky breeze wafting through the yard, perfumed by the smell of the earlier BBQ and the beginning of a campfire, me, my bros, my dog, a cooler full of beer and the untapped evening waiting to unfold. Great fucking record, no bullshit." - Terminal Boredom
"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! Have you ever had Bourbon Balls? Wesley has! Covers of Lester Bangs and Warren Zevon, plus Wes' fantastic originals.
Tops on the Goner Staff Top 10 Lists for 2009. RECOMMENDED" - Goner Records
"I don’t know why I’m having such a hard time finding the words to express just how good this album is, but for some reason I can’t put my finger on exactly what keeps me going back to the turntable to play this fucker again and again. Having heard the Golden Boys and digging them a hell of a lot, I thought that an album by one of them would sound a little different. Like what? I’m not sure, but not like this, and not this good. This record sounds like the Cheater Slicks decided to record with a big time Nashville producer and Bob Dylan’s organ player. There’s even a little Velvet Underground influence going on on side two. Standout tracks are “Donkey Song,” “I Can’t Sleep,” “Where Did My Friends Go,” and “There Goes My Baby.” Track this down and play the shit out of it."
– Josh Benke (Razorcake)
500 RANDUMBLY MIXED COLORED VINYL
100 MIXED COLORED VINYL with LIMITED SXSWES COVER
RELEASE DATE: November 15, 2009
The People's Temple
"You Don't Know" 7" EP
"These Lansing via Perry, Michigan (Population 2065-making it the 4th largest town in Shiawassee County) brats first harassed the earholes at Smashin' Transistors about a year ago with their single on the Milk & Herpes label. That record was a loud & brash mash of Brian Jones era Stones worship, Back From The Grave digging and punk rock taking a psychedelic trip. The songs were jammed with abandon and teenage frustration. Hell, at the time they recorded it I believe a couple of them were still in high school. HOW COULD IT NOT BE FUELED WITH ABANDON TEENAGE FRUSTRATION?!?! That is, of course, what rock-n-roll is suppose to be all about, right? At the time we thought "They've really done their homework on how to do it RIGHT. Give them some time to develop at little more and they'll be the successors to the Black Lips crown" or something like that. After all, the Black Lips guys are all over 25 years old now. Heh! Over the hill. Who will be the hope for real ROCK-n-ROLL next young kings until the backlash starts and so on. On these more recent recordings by the brothers Szegedy and brothers Young and other than both bands playing 60's tinged slop and jangle, the Black Lips references go out the window because these guys got their own thing going on. "You Don't Know" has the sound of surf music gone to hit some waves in some sinister part of outerspace all lead by a Rob Tyner pushing the vocals into red testimonial. "Shoot Her Down" is loaded with wailing harp and dirt floor stomp. It's kinda like a tune everyone would like to hear Iggy Pop do for the last 35 years but know he probably wont. The flip is the total bad ass "Raft" where the band shows what they're excelling a super fast clip at. Psychedelic blues bliss all the way through. Guitar lines slither between the serpentine and Spacemen 3 swooshes & splatter while the vocals trade off with all of them sounding like a Saturday night sermon." - Smashin' Transistors
"Their debut single on MNH showed some promise that I think People's Temple are realizing on their sophomore effort. Title cut is pretty blistering, Sixties moves that hit equally on the punk and psych tips, with a surfy break even. Excellent spaceman guitar action with a hippies-gone-bad feel, and a killer rave-up part with some great echoplex and panned vox parts as well. A truly great song and a weird trip, it makes you wish the Black Lips were still writing 'em this good. "Shoot Her Down" is a decent Brimstone Howl-ish rooter to fill the side. "Raft" fills up the flip with a side-long heavy garage-rock jammer ... A step forward from the last record, they're heading in the right direction it seems and the title cut of this one is real keeper that stands up to repeat listens... I'm gonna stay tuned, I think they could be on to something ..."
- Terminal Boredom
"Two sets of brothers sounds like double the fun right? I didn’t think so. So right off the bat I’ve gotta give The People’s Temple props for staying together for 3+ years. But then I’ve gotta take it right back for un-Google-friendly band name (an homage no doubt to BJM, itself an homage to the Stones). Their name isn’t the end of the tribute; “You Don’t Know” is a direct reference to said influences. Fortunately this double duo knows better than to be blatant rip-offs, so they take that 60s psychedelic sound and blast it right into space. The title track off of their Certified PR 7” is blown out to the max. And they really manage to pull it off, the surfy guitar riffs stay prominent despite the uber-fuzz and the chant vocals are simple enough to withstand the heavy distortion. This is shit-fi that you can actually listen to without losing that 60s sound and managing to remind me of new garage akin to Moonhearts and Melted-era Ty Segall. We all know life in Michigan ain’t easy and TPT is working to keep the Lansing sound alive. But when the blessed light of HoZac shines upon you it does little to keep your ego in the same realm as your humble roots. C’mon guys, if your best piece of press is siphoned from an L.A. Times review of the Woven Bones LP it might be time to update the ole’ Wikipedia page (shudder). And if you manage to make it to a show be forewarned: these guys might come off like punk rock protégé, but please keep your beers at a safe distance from their very expensive gear." - Britta Hussy (Kind Turkey)
"We have a winner! Title song starts off fast enough that I thought 45 must be the wrong speed, then a quick taste of Link Wray/Dick Dale riffing before lurching into a song that recalls the 13th Floor Elevators' "You Don't Know (How Young You Are)" in the classic kids-who-don't-care rewrite fashion.
Plus it sounds like the Traditional Fools with some weird guitar sounds and has a nice freak-out at the end. "Shhot Her Down" is a nice shot of garagey R&B and "Raft" is another dip in the garagey end of the psychedelia pool."
- Dr. Dante (Maximum Rock 'n Roll)
50 BLACK VINYL with LIMITED EDITION 2" x 2" MAGNET
450 BLACK VINYL
RELEASE DATE: MARCH 18, 2010
"I Can't Stop" 7" EP and bonus CD
"Love City already passed through here, now date back and reedit the record by the Certified PR Records, strongly influenced by 60's, and interpret a current "garage-psych" that shows approaches to the influences ranging from “punk” to the revival of the "rhythm and blues". This EP contains 4 excellent songs based on disturbing sounds drawn from a organ and haggard rhythms of guitar, revealing immediately the merit of another extraordinary band from the country of Uncle Sam." - Rock Around The Blog
"Vox driven, punkified ? & the Mysterians/Love, Six-Oh inspired tunes ...
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 lay 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. Love City has taken an old, psychedelic-influenced rock sound and made it their own with this 7”." - N.L. Dewart (Razorcake)
"This is four songs of noisy garage punk with organ from this band, with the same tunes included on a CD. They are from Philadelphia and would likely fit well on a bill with Mondo Topless from the same locale. The organ is very prominent in the mix, leading to a bit of a ? And The Mysterians vibe at times...
It’s a good, solid single from Love City." – Mike Frame (Razorcake)
100 RED VINYL with alt. cover (CPR Mailorder Edition)
500 RANDUMBLY MIXED COLORED VINYL w/ regular edition covers
RELEASE DATE: September, 2009
"Tides Of Change" CD
"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. 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)
"Plexi-3 from Milwaukee put out this incredible 13 song LP on Austria’s Bachelor Records (CD available on Certified PR Records). It will give me goose bumps forever! Highlights for me were the mod “Till It Comes True” that has early Who cherubic harmonizing and the punk nostalgia inducing “Heart’s Growing Old” gave me a lump in my throat! I’m reminded of early punk such as The Rezillos at times listening to this maybe because of male/female vocals. Guitarist Wendy Norton and bassist Adam Widener sing the finest punk duets since X. With Ryan King on drums making this three piece a perfect power pop trio. There is also an unusual cover of “Man With Money” by The Everley Brothers. Mastered by Jim Diamond. Look for their single Timebox on Full Breach Kicks and check out Wendy’s other band, The Flips.
- Bob Scott (Mongrel Zine)
500 CD COPIES (Certified PR Records)
500 LP COPIES (Bachelor Records)
RELEASE DATE: April, 2009
"Rocks Off" 7" EP
"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..." 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." – Razorcake
100 CLEAR VINYL w/WHITE INK on BLACK SCREENED COVERS (CPR Mailorder Edition)
200 BLACK VINYL with BLACK INK on WHITE SCREENED COVERS
100 BLUE VINYL with BLACK INK on BLUE SCREENED COVERS
100 GREEN VINYL with BLACK INK on GREEN SCREENED COVERS
RELEASE DATE: December, 2008
"2008 LIMITED TOUR CD" CD-R
50 HAND NUMBERED COPIES with "OFF-WHITE" PAPER COVERS
50 HAND NUMBERED COPIES with VARIOUS COLOR PAPER COVERS
RELEASE DATE: May, 2008
"64 Teeth" b/w "Megalomonkey" 7"
"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."
- 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 Black Black Ocean, then this 7” is definitely worth a spin." – N.L. Dewart
"It took a few listens, but the Blowtops’ experimental keyboard weirdness and mentally ill sounding vocals grew on me in much the same way Lili Z’s last LP did. “64 Teeth” is a warped stream of consciousness rant that falls completely apart about half way through, the drums galloping into a mess of percussive confusion only to be brought back into some sort of song structure by an eerily held keyboard note. The flip side is more precise musically, but doesn’t shake off one bit of the lunatic vibe from side one."
– Josh Benke (Razorcake)
200 RED VINYL
300 BLACK VINYL
RELEASE DATE: October, 2007
"Cameltoe Patrol" 7" EP
"Man, who would've though that we'd have not one but two records referencing camel toes this early in the year (Digital Leather's "She Had A Cameltoe"). 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." - Terminal Boredom
“Aaron Cometbus You Ain’t” was played on the very first Razorcake Podcast!
25 CLEAR VINYL with LIMITED SXSW 2006 EDITION COVER
175 CLEAR VINYL
300 BLACK VINYL
RELEASE DATE: March 15, 2006
"Justine's A Junkie" 7" EP
"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, maybe 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 (1ST PRESSING) (CPR Mailorder Edition)
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
RELEASE DATE: February, 2005
Small Hole Adapters/Suave Motherfuckers
"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
75 CLEAR VINYL 8" square shaped
RELEASE DATE: April, 2004
"28 Reasons Why We're Better Than You" CD-R
100 HAND NUMBERED COPIES
RELEASE DATE: January, 2002
"She Got Me Hot" 7" EP
350 BLACK VINYL
RELEASE DATE: October, 2001