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No Idea Records

Record Reviews

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MANDATES, THE:
Self-titled: LP
Ignorance is bliss. Except, of course, when it comes to music. Sometimes, you miss out on cool shit. Which, in turn, is even worse for its creators; quality songs go unnoticed day after day, failing to make it into the hands of the right people. The Mandates, already extremely well-received in Western Canada, are just beginning to crack the shell of the rest of the globe. A band so sharp, that even though their songs are chock full of hooks (this band is nothing but hooks), when you catch them live, the entire set is spent watching them feed off each other, focusing on how truly talented each member is. The sheer technical ability of this group is mesmerizing. And, let’s be clear: we’re talking slick, punk-fueled, power pop. A subgenre that already has no room for imperfections. You need to be competent—tight as all fucking hell. And well, these guys fit right in. Now, while these Albertans fit right in with their obvious Canadian counterparts (Tranzmitors, White Wires, Sonic Avenues, Statues, and so on), there’s something inherently different about them. The aforementioned groups have a reputation for sounding Canadian, while The Mandates sound like they’re from New York. I mean, don’t get me wrong, they still sound a lot like their Canuck brothers. But, I’d be more inclined to compare The Mandates to the New York Dolls, the Sorrows, the Dictators and maybe even the Stitches, at times. But, faster and even, dare I say, tighter. More Dead Boys than Pointed Sticks, if you catch my drift. Bands get looked over every day out of laziness, oversaturation, and new trends. The Mandates are beyond worthy of your time. Given half a chance, you’ll be singing the outro-chorus to “She’s Walkin’ Over” over, and over, and over, again. –Steve Adamyk (Mammoth Cave, mammothcaverecording.com)


MALLWALKERS:
Shake the Rust Off: LP
Stompy garage rock with a horn section, two singers and the tendency to feel like an R&B record at times. Perhaps it’s more economical to say that this is a funk punk/Big Boys kind of thing. The vocals are very harsh compared to the music, but there’s a lot of originality in the essence of these songs. Warrants multiple listens, even if it’s just to get past the amount of music that has to be processed. Grade: B+. –Bryan Static (Peterwalkee, peterwalkeerecords.com)


LOVE CHANNEL / FEMTEKOLONNARE:
Split: 7”
Both of the bands on this split record play fast, crazy, terrific European hardcore with a suddenly retro vibe. Sounding like they’d fit in well on a bill with Charles Bronson in the 1990s, there’s nothing to not love here. Both sides are well recorded and this record should be cropping up through stateside distributors by the time this review is published. Don’t let their cute names fool you. These bands are hard. –Art Fuentes (Vulgar)


LOPEZ, THE:
Fur: 7” EP
Noisy pop kind thing here with a bit of snotty punk edge (mainly in the vocals). A little bit of feedback, some fuzz, and three upbeat songs that profess their love of felines (yes, you read that right). “Furriest One” sounds like a cross between Hunx And His Punx and Big Eyes, but with the din of distortion. The B side has the better songs on here—“Kingdom of Cat Piss” and “Fur Babies.” These two are more direct and to the point with a heavier beat and forceful vocals over a driving bass and noisy blarps from a guitar. Comes on translucent pink vinyl that looks perdy when held up to the light. I’m as amused by how the light is captured in the record as a cat is entertained by a human moving a beam from a flashlight along the floor. –Matt Average (The Lopez, thelopeztheband@gmail)


LOPEZ, THE:
Fur: 7” EP
Three songs of noise pop from a duo from Pittsburgh, PA featuring Stephenwolf on vocals/synth, and Jesse Lopez on guitar/vocals/programming. Lots of fuzz, energy, and noise that fills every corner of this single. Every bit is a thing of beauty. The songs are fun, full of hooks, and played with so much joy that it spills out of the speakers and puts a smile on my face. They kind of remind me of the B-52’s if they were less pop, added noise, and kept the female vocals instead of using the male vocals as the lead. (The Lopez mostly use Stephenwolf as the lead singer on this release with Jesse Lopez taking up background vocals to great effect.) A very cool single that I couldn’t stop playing. –Rick Ecker (Self-released, thelopeztheband@gmail.com)


LIQUOR STORE:
In the Garden: CD
Sometimes I listen to this record and hear “Pile of Dirt” and “Big Wheels” and imagine it’s from a future where the Dictators don’t come into existence until the time of the DC Comics graphic novel Kingdom Come, where the irresponsible superheroes of the modern generation do little but wreak untold havoc with their constant brawling. Sometimes I hear the boink-boink-boink piano in “Keys to the Face” and imagine I’m listening to a strip club Stooges with knuckle tattoos. Sometimes I hear “Titty Was Loc’d” and it sounds like an “All the Young Dudes” for a demographic so idiosyncratic as to render it functionally inert for humanity’s perusal. But mostly I listen to this record and think about the time I tried to find pot for A.O.D., rather unsuccessfully if memory serves. The New Jerseyest band of all time!!! BEST SONG: “Satin Dollars” BEST SONG TITLE: “Pile of Dirt” FANTASTIC AMAZING TRIVIA FACT: Recorded on my birthday! –Rev. Norb (Almost Ready, almostreadyrecords.com)


LIGHT BEARER:
Silver Tongue: 2x LP
Epic doom crust. Listening to this reminds me of bands like Ambush, where if you take the time to listen to this closely, and allow yourself to focus solely on the music, then you will get a lot out of it. The songs are heavy, multilayered, and, as a whole, they create a mood of impending gloom and doom. There are moments of quiet, then times where the songs are churning and exploding. “Amalgam” is a complete crusher. There are the guitars playing off one another, and I really like the way one guitar is adding another layer in the middle of the song, adding to the mood, and how the tempo is building tension that never lets up. Then how it gives way to the contrasting “Matriarch,” allowing the quiet to come in and room for introspection as well as preparation for the brewing storm. The cello and violin help anchor it down and underscore the tone. The theme to this album is centered around Christianity and the sexist image of women it tends to promote. Lyrically, it’s presented almost as a conversation between lucifer and Eve. For me, the writing is dense, and something, like the music, you have to spend time with and focus on it completely to “get it.” It’s kind of like a book, but it’s only an album. The first couple times I put this album on was more as a quick listen and background noise, which this is not geared toward at all. There’s a lot here to take in, spend time with, and discover. –Matt Average (Halo of Flies, halooffliesrecords.com)


LEMURIA:
The Distance Is So Big: CD/LP
Until I saw Lemuria live just over a year ago, I had the band pegged as a pop punk trio that seemed to be quite popular with younger indie music fans. The live experience, however, opened my ears to a sound that was less conventional than I had imagined, and which sent me reeling a bit, given how so intense the performance was. I was instantly sold. The Distance Is So Big is Lemuria’s third album and it continues the upward trajectory that each subsequent release has taken over its predecessor. It is packed with a plethora of hummable tunes that are instantly infectious. The ace in the pack with Lemuria is the highly effective percussion courtesy of Alex Kearns, who uses his drums more as an instrument than just something to keep time with. It’s reminiscent of Burning Airlines and perhaps it’s no surprise that J Robbins has produced this and the band’s previous long player, as there are definitely similarities to be heard between both bands. The other major plus point would be Sheena Ozzella’s vocals which are, at times, beautifully paper thin, working in tandem with those of Kearns, whose voice is more one dimensional, yet highly listenable. And without a doubt, “Public Opinion Bath” is easily one of my favorite songs of the year, although it is one of many gems on the album. –Rich Cocksedge (Bridge 9, info@bridge9.com, bridge9.com)


BANGERS:
Blind Hindsight: 7”
Bangers is certainly one of the best U.K. melodic punk bands around at the moment. This trio knows how to knock out punchy, catchy songs featuring lyrics that have a great amount of depth and interest to them. This release has two songs that are imbued with the classic Bangers sound and “The Nick of Time” just pips the title track as the better of the two. However, the surprise is to be found with the third track, “Log Jam,” which opens with an almost Celtic style lament and closes with a repetitive riff and beat combination that I could listen to for hours in its own right. This single is a definite step forward for the band. –Rich Cocksedge (Specialist Subject, andrew@specialistsubjectrecords.co.uk, specialistsubjectrecords.co.uk)


BADLANDS:
So Little: Cassette
Listen: Imagine yourself lying on a plateau somewhere in the Arizona high desert. You’re alone. The sun is setting in such way that the sky is hued in purples and oranges, like a Moroccan tapestry. If you need a soundtrack to this picture-perfect moment, let it be Badlands’ So Little. Badlands is Adrian Tenney of Spokenest and God Equals Genocide playing an assortment of instruments such as ukulele, Balinese gongs, and piano. Yet, the greatest instrument is Tenney’s voice which she layers with melodic harmonies and otherworldly coos, a languorous quality reminiscent of Mirah and Your Heart Breaks. Tenney’s vocals drip out of the speakers making each song hauntingly dreamlike—ephemeral and succinct—with upbeat pace changes that plunge into subtle variations. Thankfully, Badlands never deviates towards exhausting musical interludes plagued by muddy reverb or indulgent experimentation. Instead, Tenney gracefully sings and strums her nylon guitar allowing the sounds to peacefully exhale. –Sean Arenas (Ghostbot, info@ghostbotrecords.com)


BAD SPORTS:
Bra: CD/LP
A power pop explosion that brings to mind a wide range of bands including The Saints, The Buzzcocks, Big Eyes, and The Posies, to name a few, that came to mind when listening to this. It’s not a bad album and there are a handful of decent songs to be found on Bra, although not enough to keep me fully engaged from start to finish—although if it’s on while I’m working then I’m oddly happy to listen to this a few times over. –Guest Contributor (Dirtnap, mail@dirtnaprecs.com, dirtnaprecs.com)


BAD SKIN:
Self-titled: EP
Mid-tempo hardcore punk that reminds me of early ‘80s Boston bands like Negative FX. There’s the bellowing vocals, raw and jagged guitar sound, and no frills, but effective, percussion. Primal and direct in its delivery. Four short blasts, with “Flamejob” being a standout. I like how the guitar goes from distortion to a semi-clean distortion-free kind of feel, similar to what bands like Social Distortion (when they were good) used to do. There’s also no denying the cranking introduction of “Commute.” The guitar comes on with a distorted and creaky sound, charging you up, then the vocals come in barking some angsty shit. Pretty good stuff. –Matt Average (Bad Vibrations, badvibrationsrecords@gmail.com)


BACKSLIDER:
Consequences: 10”
Sick Eyehategod-style opening into crushing powerviolence with start, stops, sputters, and spurts. There is a lot going on in the rhythm of these songs and while the band can be described as “pummeling,” they pull it off with finesse. The riffs are good and pull influence from punk as well as sludge and death metal. The result is a layered and engaging listen. Everything is played well, but what I like most about this record is how each song is tied together and the whole record feels like one cohesive composition. Basic recommendations for fans of Weekend Nachos, Iron Lung, and Triac. A welcome addition to the modern powerviolence catalog. –Ian Wise (Six Weeks, sixweeksrecords@comcast.net)


BACKBURNERS, THE:
Self-titled: CD EP
These five gritty songs—dirt-filled rock’n’roll with a punkish edge—are short and to the point. This could almost fit into the lineup of the Supersuckers and Nashville Pussy live show. With tight playing and a “screw you attitude,” this is the kind of music that begs to be played at a high volume. Great stuff from these guys and I’m looking forward to hearing more in the future from them. –Rick Ecker (MegaPlatinum, megaplatinum.net)


AU PAIRS:
Playing with a Different Sex: LP
It’s funny reviewing a record that came out before I was born. But with that being said, this record still holds up and could probably be passed off as something new. Everyone playing the post-punk thing today seems to be compared to either Joy Division or Gang Of Four. Those bands were great, but those kinds of lazy comparisons leave out true gems like this one. Playing with a Different Sex has a very bass-heavy, dance, and punk feel. The bass on this record makes me think that Jane Munro (bassist/singer) is the fidgety type who can’t sit still and dances for an entire set. Just listen to, “It’s Obvious” and you’ll see what I mean. They do minimal in a clever sort of way that proves that less is more. There is a broad mix of themes in their songs that deal with gender, hostages, love, and promiscuity. The mix of subject matter, as well as male and female vocals, makes for a great record. The packaging is great too. It comes on 180 gram pink vinyl. The insert has lyrics on one side and a fertility chart on the other side. Drastic Plastic out of Omaha, NE has been reissuing a lot of classic records from this era. Check out more of their releases if you like eighties, new wave, and post-punk. –Ryan Nichols (Drastic Plastic)


ATOMIC BUDDHA, THE:
Blottered: CD
After listening to this CD four and half times, I think I’m ready to say it’s incredible. On Blottered, The Atomic Buddha go from fuzzy, spacey power pop to rock’n’roll maximum riffage, and never over-reach. They’re The Buzzcocks and then Bob Mould is playing and then they’re the Stooges for a few minutes, the vocals falling somewhere between Pete Shelley and Glenn Mercer. They sound like dorks who absorbed all the right records and cover the exact bases you want covered. Every song sounds like a demo version of a classic to-be. Some of the lyrics are a little rough, or kind of pedestrian/cheesy, like they’re trying to make too much sense. But they seem like a band that can do anything, and they’ll be even better when they figure out what not to do, or what doesn’t need to be done. –Matt Werts (75orless, 75orlessrecords.com)


ANTILLECTUAL:
Perspectives & Objectives: CD/LP
Dutch punk band Antillectual is back with a fourth album, albeit the first one I’ve heard so far (a situation that since writing this review has been remedied). I got hold of a copy of Perspectives & Objectives after recently seeing the band live and although the music is pretty good, it was more the message that hooked me in. In terms of the musical content, there is obviously a strong skate punk influence but that’s far from the be all and end all for Antillectual. Some of the tracks have a more pop/rock orientated sound, which offers up a slightly more relaxed feel to the record, allowing the messages to come through in a calm way. The lyrics deal with issues such as bullying, the lack of women at punk shows, and also the need to not settle for a life that doesn’t feature new experiences displaying a socially aware outlook. There are definitely some similarities to Bad Religion and Crazy Arm, both musically and lyrically, to be heard at times and neither of those are bad things in my book. –Guest Contributor (Lockjaw, rob@lockjawrecords.co.uk, lockjawrecords.co.uk)


ANTI-CIMEX:
Anarkist Attack: 7” EP, Raped Ass: 7” EP & Victims of a Bomb Raid: 7” EP
A reissue of the first three EPs by this venerable Swedish hardcore institution, courtesy of a Brazilian label. Their first salvo, 1981’s Anarkist Attack, is an amateurish, yet spirited mix of the obligatory Discharge influence and sloppy, thuddy hardcore. It probably wouldn’t be considered crucial to the casual listener, but is arguably ground zero for both the band and the whole fjordcore sound. Their follow-up, 1982’s Raped Ass, is an altogether different beast. Tempos, vocals, and the Discharge-derived musical attack are ratcheted up several notches, with screaming vocals and pummeled instruments giving clearer insight into why the band became so influential. They followed up the next year with the Victims of a Bomb Raid EP, which keeps the speed and Discharge influence at the fore and, while they back up a bit on the sonic flailing, they manage to do so without sacrificing any of the heft. All are faithfully reproduced and include inserts with cover variants from other reissues, as well as “liner notes” by one of the band members. It’s highly recommend these be sought out, and fast ‘cause I’m guessing there’s only a handful of ‘em floating around out there. –Jimmy Alvarado (Nada Nada, nadanadadiscos.com)


ANGERS CURSE:
Self-titled: CD/LP
Angers Curse is what happens when there’s a Swedish version of Earth Crisis that wants to be on a label like Bridge Nine, but they tell the band that they’re going to have to write shorter, faster songs to fit in (twelve songs, twenty minutes), and then the label doesn’t sign them anyway. –Kurt Morris (Monument / Gaphals / World Vs. Cometh / Defiant Hearts, angerscurse.bandcamp.com)


ABOLITIONIST:
The Growing Disconnect: LP
Dark, political punk from Oregon that recalls elements of early Anti-Flag, early Good Riddance, Avail, and Model American (remember them?), with a stylistic mix of ‘90s California and ‘80s Midwest punk. While the song structures and chord progressions are a little predictable at times, the music is a solid and effective backdrop for the lyrical narratives that the nine songs contain. Neither preachy nor simplistic, the songs are personal accounts of struggles, both internal and external, with the current state of national and international affairs. In other words, you can tell that they mean it. A solid record and a band that I’d like to see take that next step up. –Chad Williams (1859, 1859records.bandcamp.com / Tour Van, tourvanrecords.bandcamp.com / Different Kitchen, differentkitchenrecords.bandcamp.com / Lost Cat, lostcatrecords.org / Sex Sheet, sexsheetrecords.com / Hahaha Cool, hahahacool.com)


ABJECT OBJECT:
Romance: LP
French melodic punk. It’s artful, clean, highly constructed, tuneful, and intentionally pushing the listener to meet them half way. (The lyrics are printed on the inside of the record pocket, but they’re near the open edge, so it’s possible to read them. It’s not just horribly convenient. I appreciate and support such practices. Convenience is an addiction.) Romance engenders an intricate, precise geometric flatness and, for Abject Object, it’s a definite positive and makes me think of the sonic space between Bitpart and Xaxaxa. The hooks come out after multiple listens and when they do, the record locks solidly into place and makes sense as a pattern, as distinct song pieces, and as a cohesive whole. Enjoyable. –Todd Taylor (abject.object@gmail.com, abjectobject.bandcamp.com / Echo Canyon / Protagonist / Corn Dog / Flower Of Carnage)


A.K.A.:
Golden Chains: CD
Heavy nod to ‘80s punk with a vocalist who sounds, to put it bluntly, like she’s barfing nails and summoning a ghoul at the same time. Harsh, ugly, and wire-tight, with the occasional little Ginn-like freakout, such as the laddering guitar work in the title track. Eight songs with the brittle and consistent yowl of hardcore and just mean as shit, with lyrics that focus on labor, inequality, and the often soul-killing nature of work and profit. Go into Golden Chains expecting pop punk and you’re going to get your face sanded off. –Keith Rosson (A.K.A.)


VIBRATOR5, THE:
On the Guest List: CD
I don’t think it would be unduly untoward for me to state that the Vibrators haven’t felt like a vital, going concern to me since they left Epic Records in 1978 ((“Amphetamine Blue” and a few other standout tracks from the last thirty-four years or so notwithstanding)). Out of the twenty or so albums the band released since then, the only one i’ve actually purchased was Fucking Punk ‘77 a few years ago, which was basically them playing old punk covers ((including their own stuff)), seemingly underscoring my point. This time, they’ve recorded mainly new originals ((plus remakes of their own “Baby Baby,” “Whips and Furs,” and “Automatic Lover”—in case you didn’t catch the remakes a few years ago on Fucking Punk ‘77 i reckon)), with the twist being that they’ve enlisted a shit-ton of guest guitar players to do solos for them—Walter Lure, Wayne Kramer, Brian James, Ross the Boss, Stan Lee, Hugh Cornwell, Chris Spedding, Ty Segall. And, while i gotta admit that it’s kind of fun to see who’s playing on the song, then eagerly awaiting their guest solo, sitting around waiting for guitar solos isn’t really at the top of my list of things i wanna be doing when I’m listening to a punk album. I guess if you enjoyed Knox’s guest appearance on Die Toten Hosen’s cover of “Baby Baby” on 1991’s Learning English, Lesson One, you’ll surely thrill to the Die Toten Hosen guitarist’s guest solo on “Baby Baby” here. It’s worth a listen, but if you can sit all the way through it without the phrase “twenty-second album by a two-album band” periodically blinking into and out of your consciousness, you got way more Zen than i got. BEST SONG THAT HASN’T BEEN RECORDED FORTY-EIGHT TIMES BEFORE: “Rain to Town.” BEST SONG TITLE: “Birdland Is Closed.” FANTASTIC AMAZING TRIVIA FACT: Nigel Bennett uses PRS® guitars and Marshall™ amplification. Eddie uses Avedis Zildjian® cymbals and Eddie Ryan™ drums. Pete uses Genz Benz™ amplification and Epiphone® and Gibson™ basses. They didn’t list what Knox uses. –Rev. Norb (Cleopatra, cleopatrarecords.com)


WOLF FEET:
Self-titled: Cassette
Smiths-esque new wave recorded on a playschool cassette player (or least that’s what it sounds like). Personally, I’ve had it up to here with Morrissey impressions. They’re much like opinions and assholes—everybody has one. The songs themselves range from decent to decent, but weird. I like the weird ones better. –Bryan Static (Resurrection, getresurrected.com)


WHITE FANG / WAR TOY MACHINES:
Split: 7”
War Toy Machines: Fuzzed-out post-punk made of broken glass. Really fun if you like to hear loud, jagged music. White Fang: Straight forward garage rock with mildly interesting vocals and a sub-par chorus. Unremarkable. Grade: B-. –Bryan Static (Frantic City, franticcity.free.fr)


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