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Razorcake #79
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Record Reviews

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BEAT THE RED LIGHT:
Salt the Lands: CD
This record sounds like the Flaming Tsunamis. That is, brutal metal riffs punctuated with a ska horn section. I even went so far as to check the liner notes to see if it’s the same dudes. (Apparently, they are not related entities.) If I put this in the player with a Flaming Tsunamis CD, I wouldn’t be able to tell which band was which. I’m sure fans of either band will take me to task for that claim, however, and accuse me of inaccuracy. So be it. Another banal comparison would be to describe this as Napalm Death meets Less Than Jake. I liked it (not loved) because I like this sound (not love). –The Lord Kveldulfr (TNS)


BAD CO. PROJECT:
Mission Mohawk: CD
This band has nothing to do with ‘70s supergroup Bad Company, instead being a five piece street punk band from Berlin fronted by Sucker from the band Oxymoron. Very straightforward upper mid-tempo punk with hardcore tendencies. The lyrics are sung in English and cover a lot of themes common to the genre such as punk unity, dangers of drug abuse, having a hardscrabble upbringing, and resisting the state. They are working with a lot of classic and obvious influences from early ‘80s melodic hardcore legends as well as ‘77 punk and plenty of classic oi. My favorite track on the disc is “Borderline,” which shakes things up with a guest female vocalist trading verses with Sucker and an almost gothic post punk vibe. But for the most part, Bad Co. Project plays it a bit safe by sticking to well-traveled paths of street punk and it’s nothing special. –Jake Shut (Joe Pogo)


BACKSLIDER:
Self-titled: 7” EP
Thirteen tracks of manic hardcore that blurt and stumble by before you’ve even a chance to ask who the fuck it was. –Jimmy Alvarado (Blastcat, myspace.com/blastcatrecords)


AUSTRA:
Feel It Break: LP
As a fan of most things dark and moody, the current darkwave resurgence (or “gravewave” if you prefer… I sure don’t) should be a real treat for me. But it isn’t. It just seems like a bunch of the turds who were wearing god-knows-what in the pages of Vice Magazine a few months back have now appropriated all of the cool iconology of black metal and are rocking custom Chucks with inverted crosses on them. Fuck that. But luckily, amidst this new parade of clowns, there are some groups expertly nodding to the gloomier side of the ‘80s without quite as much shitty irony (though there always seems to be a smidgen…). Toronto’s Austra, fronted by classically-trained, Latvian-Canadian chanteuse Katie Stelmanis, is one such group. It’s hard to make any comparisons that haven’t been tossed around already (Kate Bush, Eurythmics, even Diamanda Galas’ more accessible moments), but I will say that Austra does a terrific job of blending danceable pop and chilling operatics (think Depeche Mode meets Der Ring or Ligeti maybe? Orff too?), and I’m totally digging it. I had the opportunity to see them play a couple of weeks back, and aside from playing to a backing track (I don’t know if the keyboard was even played at all), Katie Stelmanis’s voice was a mindbomb. So rad. –Dave Williams (Domino)


SHEGLANK’D SHOULDERS:
Skate Assassin: 7" Flexi
Calgary’s now-legendary skate rockers return with their final release. A little bit of full disclosure is necessary here. These guys are friends of mine and our bands have toured together. That said, I would also never stretch the truth in reviewing some skate rock, so here it is. Heaviness abounds. Izzo and the boys deliver another couple songs with the power of mainlining an energy drink. Great to get the blood pumping before raiding a construction site for lumber to build a ramp. My complaint: A flexi-disc? Really? It sounds great and all, but it just feels... weird. A release with such an amazing cover painting deserves a proper vinyl release. –Ty Stranglehold (Handsome Dan)


SHARP OBJECTS:
Zero Ambition, Another Victim, Five Song EP: 7", CDEP
I know someone will inevitably come forth to decry this statement, but I’d say on the west coast there’ve been two labels that are pretty much the go-to places for ‘70s punk/power pop/kitchen sink influenced stuff. In the south there’s Hostage (been a while since I’ve seen something from ‘em, so they may or may not exist at this point), who unleashed Smogtown, The Stitches, Broken Bottles, Bonecrusher, Smut Peddlers, and tons of others, while the north has been ruled by the mighty Dirtnap, who’ve released crucial material by The Briefs, The Gloryholes, The Spits, the Epoxies, and a veritable who’s who of the subgenre. With recent releases by The Bodies, Modern Action (the band), The Orphans, Smogtown, and others, it appears that Modern Action (the label) is now making a play to fill the void left by Noma Beach’s absence and rule the territory both literally and figuratively between the other two, and these releases are a few more warning salvos over the bow of anyone trying to move in. Like so many of their label mates, the songs on both singles feature an amalgamation of northern quirky punk pop sensibilities and southern thud-punk muscle. Yeah, the style might be starting to get a bit cookie-cutter, if you wanna be nitpicky about it, but I’ll be goddamned if these guys aren’t milking it for all it’s worth and ending up with some choice hits here, and there ain’t a clunker in the bunch. For those who prefer their music on a more recent dying format, The Five Song EP CD has the four songs from the two singles, plus a Satan’s Rats cover. –Jimmy Alvarado (Modern Action)


SHARP ENDS:
Self-titled: 7" EP
The “art” and dark brood are still very evident in the four tunes here, but the tracks here have a bit more of, oh, a groove imbedded into ‘em. According to a piece of paper included on the release, this is a reissue of their first self-released EP, which I guess would mean the stuff here is closer to the base from which they expanded on subsequent releases. It also says they’ve called it quits, which is a fuggin’ drag, ‘cause they were one of few who are really trying to push a bit at the boundaries and coming up with interesting results. Gonna miss ‘em. –Jimmy Alvarado (Mammoth Cave Recording Co., mammothcaverecording.com)


SCUL HAZZARDS:
Landlord: CD
This Australian band’s album is eleven songs of post-punk and math rock clocking in at thirty-nine minutes. It’s reminiscent of Chicago bands like Shellac or Bear Claw as well as Blenderhead, a Seattle band from back in the mid-’90s. It’s got a loose sound that is still coherent enough to pack the necessary punch. I like a band that records at a level appropriate to their sound. There’s no need to record somewhat sludgy, dirty, aggro rock in a million dollar studio, nor should it sound like it was done on a four-track. The recording sounds just right for the band’s sound. Scul Hazzards is aggressive and has some catch to their sound, too. The guitars remind me of an aggressive, skinny guy: he may be thin but he’s got a lot of energy and intensity that can transform into impressive muscle. The bass is rumbling, the drums striking, and the vocals reminiscent of Steve Albini’s work not just with Shellac but also Rapeman and Big Black. I’m not sure this would be a cup of tea for any music fan, but for those who occasionally find themselves inclined to listening to math rock or post-punk, this should be right up your alley. –Kurt Morris (Tenzenmen)


SCREECHING WEASEL:
First World Manifesto: CD
If you’re hip to these mammals, you know the deal. As with previous releases, the order of the day is Ramones-inspired pop punk heavy on the hooks and a wee bit more sophistication than the zillions of Xerox clones that have followed in their wake. It’s also no surprise that there’s been some personnel overlap between these guys and fellow heavyweights in the genre, The Queers, as they both make the most of the same patch of dirt, with Screeching Weasel maybe resorting to use of the word “fuck” a bit less. Can’t say I’ve ever been much of a fan, and this doesn’t change that much, but there are literally thousands of bands doing the same thing with less satisfying results. –Adrian Salas (Fat Wreck Chords)


SASSY!!!:
Diggin' Deep: CD
Grrrl powa! This garage pop duo out of San Francisco employs fuzzy guitar chords and touch me, tease me vocals. It’s obvious these girls dug deep into their repertoire to produce this latest full length. Coloring over the lines into rockabilly and surf, “So Bad It’s Good” uses hand claps and doo wop harmonization while the girls have fun with time signature in “Wild Summer,” slowing down and speeding up the track. Unfortunately, this album loses steam about half way through, pulling heavily from ex-boyfriends and new ones, but this could fit in nicely with those who dig The Kills’ bluesy guitar riffs, the moxy of The Donnas, and the polished surf pop of Blondie. –Kristen K (Good Trouble, myspace.com/sassytheband)


SARKYNEET:
Mita On Olla Levoton: 7" single
What?! Only two songs?! One of them being a cover of “Secret Agent Man,” here titled “Vaaksa Vaaraa Vain.” This record is so good!! I want to hear more than a couple songs. It’s like giving you a small taste of your favorite food then taking it away. Arrrggghhhh.... Sarkyneet play tuneful and driving punk with surf influences in the guitar, and some ‘60s pop in the medley. The title track requires repeated listens. I hear there is an LP coming from these folks soon. Should be worth picking up, if this single is any indication. I predict this band will become a big deal in the next couple years. Such a good record... –Matt Average (Combat Rock Industry, fireinsidemusic.com)


SAMIAM:
Orphan Works: CD
In case you don’t know, Samiam is, for ease of identification, an emo band with punk and alternative leanings from the Bay Area—think a less punk and more alternative (and accessible) Jawbreaker with a more consistent catalog. Anyhow, I was rather suspicious of this when I first heard about it. I swear by the band’s Billy and Soar LPs. However, I am generally not thrilled with live recordings, and these songs were recorded during the band’s Clumsy and You Are Freaking Me Out periods, which aren’t bad but not my favorites. Upon having listened to this compilation, I must say that my apprehension was a bit unfounded. My latter worry, that this would have been solely a retrospective of the Clumsy and Freaking eras, was assuaged by the presence of selections from Billy and Soar (and even one from the first LP!). The rest of my trepidation gave way when I found that the live tracks were mostly done live in the studio and on radio stations, and the rest of the live ones didn’t sound like shit. These recordings, at times, offer a slightly altered approach, which were interesting to hear. That said, I still prefer the emotive force of the Billy and Soar versions of the songs that appear here. As for the rest of the tracks, there were a couple of oddities to me. First, though Samiam is great, they have no business covering The Pixies or Iggy And The Stooges—these covers should have been destroyed like your old high school poems. Second, “She Found You,” a single from Freaking, didn’t make the cut in any form. Overall, this isn’t bad yet far from great. I can see it serving the purpose of giving an overview of Samiam’s early and mid period output to a new listener, but I think that it is better suited for those infatuated with the band. To those who would like to check out Samiam for the first time, I would say go with Billy and Soar (or track down New Red Years if you don’t want to take a two-album plunge). –Vincent Battilana (No Idea, noidearecords.com)


RUBBER CUSHIONS:
Crazy: 7" single
Huzzah! Huzzah! What’s up with hiding the scorcher on the flip? “I Won’t Be Your Lover” should have been the A-side. Not that “Crazy” is a sloucher, as it’s definitely a strong song. But that previously-mentioned song on the B-side—whoa! Fast paced and rocking like a muhfugga. They slow down in the middle, put in some harmonica, catch their breath, then put the flame back on high. Now, back to the song “Crazy.” Reminds me of the Standells and Music Machine: hard-hitting tempos, catchier than hell, and delivered with attitude. Damn good record! –Matt Average (Girth, girthrecords.com)


ROSES NEVER FADE:
Fade to Black: LP
This is dark, yet serene. There’s a bleakness here that is attractive—and oddly comforting and reassuring. The guitar sounds cold at times and there is a lot of space in the sound. Everything is so clean as well. “So Far Removed,” with the acoustic guitar, is unbelievable! So good... Lyrics are just above a whisper, though not campy or overwrought with emotion. This is music for those who have willingly disconnected from the world and the societal games that lead nowhere but to submission and compromise of self. At times this is epic without being loud. The title track is a perfect example. The tempo is up, the acoustic guitar dominates, and it has a sense of a new start. If you like Death In June, Boyd Rice, and Lurker Of Chalice, then you’ll like this. Me? I more than like this. –Matt Average (A389, a389records.com)


RICOCHET:
(title in Russian): CD
A Russian band mixing a decent cocktail of indie rock and punky pop, whose efforts are hampered by a singer that too often sounds like he’s straining to hit his notes on-key. –Jimmy Alvarado (OSK)


RHYMODEE:
The Get Lucky Sessions: Cassette
The singer from This Bike Is A Pipe Bomb playing catchy racket that shines through the terrible recording quality. Covers Motörhead’s “I’m So Bad (Baby I Don’t Care)” brilliantly. I’m going to convert this into a less archaic format and listen to it while waiting for Rhymodee to release a full length CD, hopefully. –Lauren Trout (Self-released)


RESIST CONTROL:
Dissipation: EP
After a killer demo from awhile back and a couple tracks on the recent Buffalo Brutality comp, Resist Control unleash a raging EP. Fast and intense, the songs blaze by in a matter of seconds. The urgency is up front and in your face. The drummer sounds like a machine! So fast and throttling. Just listen to “Ideas Not Politics”: teetering on the edge of chaos! The only time they really slow down is toward the end of “Kleptocracy.” The chorus on “Falling Apart” slows down a touch and is catchy, but they keep it in the red for the most part. Damn good record! –Matt Average (Feral Kid / Shock To The System)


RED MASS:
Self-titled: 7"
Gotta respect Hozac, ‘cause no matter your ultimate decision whether or not you dig a record, you can pretty much rest assured it’s gonna make for some interesting listening, and this is no exception. The colorful cover hints at either bizarre hardcore and/or noise rock, but the music itself is a bit more sophisticated mélange of arty, occasionally dark punk, rock and, in the case of “Freak Show,” maybe even a hint of ‘50s rock. Can’t say it’s the best thing I’ve heard all year, but an interesting listen it definitely is. –Jimmy Alvarado (Hozac, hozacrecords.com)


REBEL SPELL, THE:
It's a Beautiful Future: CD
This record is fuggin’ awesome—punk rock comfort food. The Rebel Spell have a tight, fast, melodic sound with some burly vocals that are not so much anthemic as they make you want to sing along at the top of your lungs as you drive down the highway and take smug pleasure in how much society can suck at times but you forge ahead anyway like the trooper that you think you are. I’m forty years old now, and this record made me want to dance in the pit again. Start to finish, it’s an invigorating shot of adrenalin, but the songs have a level of maturity—both musically and lyrically—behind the snarling irony so frequently present. As a result, this record not only makes me willing to continue to go against the grain, but it reminds me of why I do. –The Lord Kveldulfr (Rebel Time)


REATARDS, THE:
Teenage Hate: LP
The appropriately un-re-mastered sounds of this band’s first album and long out of print early demos have been collected together. Few of the songs on the album get past the two-minute-mark. The first song on the album, “I’m So Gone,” doesn’t even venture past the one-riff-mark. “I’m So Gone” is a flailing caterwaul of anxiety. The song repeats a declaration of homelessness probably intended to be interpreted literally, but the metaphor of disassociation with society is palpable and kicks off the album. More progressive melody lines enter on the second track. “Stayce” shows that the band was destined to extract slight bubblegum influences from a vast haze of fuzz. Fear, Buddy Holly, and Dead Boys covers pepper the album as influences clearly work on the sleeves of a great rock band. “Out of My Head, Into My Bed” serves as the classic on the record with a combination of simple melody breaks, a complete and hummable chorus, and a naive sincerity about relationships that cannot be denied. Included in the reissue of the album are recordings that made up two self-released cassettes that the band produced before the release of Teenage Hate. These demos have become infamous among tape collectors. The tapes are furious documents of three-chord mayhem. With this re-release, a chapter of snotty teenage angst is well documented. –Billups Allen (Goner)


RAW NERVE:
Tall Tales: 12"
This record collects all the band’s out of print singles and demos in a somehow more cult limited edition of two hundred copies. It was released as a part of Record Store Day at Reckless in Chicago. Listening to the band’s discography offers a little bit different perspective on what they’ve managed to accomplish over the past couple of years. The main thing that sets these guys apart from a lot of the “mysterious” bands they get lumped in with is that you can actually tell their songs apart from one another. They’ve actually done something very few hardcore bands have been able to achieve, which is put out several releases focused on a very narrow aesthetic that have their own nuances. Basically, what I am saying is that everything Raw Nerve does sounds like Raw Nerve. Even the first demo tape (which I had never heard before this collection) has a very mature, developed aesthetic to it that’s totally unnatural for a first recording. On a side note, I feel like I should mention that I’ve reviewed probably ninety percent of the records Youth Attack have put out over the past year and a half and never said anything about the label or the way the business is run because that’s all any other reviewers talk about, which I consider tacky for several reasons. However, I need to point out that the backlash from “sincere supporters” against the label reached its height in reference to this record, which is an unfair attitude. This record was released in small numbers but was meant as an incentive for people to support a local brick and mortar record store; something people lose sight of when they only purchase their records via eBay for three times what they cost elsewhere. I called the store and got this record for $14. It’s nobody’s fault but your own that you paid $100 for it on eBay. –Ian Wise (Youth Attack)


QUANTIS/ COMA REGALIA:
Split: 7"
With the maple leaf-ish die-cut and spray painted cover of a naked lady holding a skull, I was preparing myself to be inundated with, I don’t know, some weird-ass patriotic Canadian rockabilly or something. I was so far off the mark—Quantis is from Malaysia and they clearly, clearly adore the screamo. They give us three songs so utterly convincing that Level Plane would’ve shit their drawers over were we still in 2002. While the lyrics may suffer a bit from translation, the genre was never particularly known for its linear lyrics anyway. This shit rules. Indiana’s Coma Regalia swings the Orchid hammer hard and dresses it up in some fancy dual-vocal tomfoolery and thunderous musicianship ala This Machine Kills. It’s not gonna be everyone’s thing, but for those who dig this stuff, this record’s gonna get some spins. Totally top-notch work here by both bands. Numbered to 500 and definitely worth seeking out. –Keith Rosson (Middle Man, middlemanrecordshop.blogspot.com)


PYGMY LUSH:
Old Friends: CD
Some of the coldest winters I’ve spent have been in the South, where the temperature rarely drops below freezing. Southern punk houses are drafty. Heat is never included in the rent, so it stays off, and everyone wears long johns and knit hats to bed. The Taylor brothers from Pygmy Lush’s old band Pg. 99 used to practice in a shed on their mom’s property in Northern Virginia. There’s a photo of what I assume to be that shed on the back cover of this album, and it looks like the type of decaying structure that would barely shelter some punks in January. And Old Friends perfectly captures that feeling, of it being too cold on the couch for you to take off your sticky socks, of warming your hands over the pot of macaroni as it boils, of wishing you could meet someone to keep you warm at night. In the past, I’ve come down on Pygmy Lush for sounding too much like their influences, namely Black Heart Procession and Three Mile Pilot. Now, they sound like their own band. They play creepy, atmospheric, acoustic rock that occasionally swells with its chaotic hardcore past. Good shit. Night music. –CT Terry (Lovitt)


PRIVATE DANCER:
Alive In High Five: LP
Drunken, flailing bar rock from Minneapolis. Similar to the Mannequin Men or hometown heroes The Replacements. These guys know how to take rock’n’roll tropes and pump them through their own keg with no foam. Highlights include “Diane,” the best rock’n’roll song I’ve heard this year; “Weekend,” which is either about having to work all weekend while your friends party or about your job being to rock out and party on the weekend; and the heartfelt glam of “All Souls Eaters Day.” I just realized it’s nearly six pm, so I should experience no guilt as I open a beer and play this again. –CT Terry (Learning Curve)


PLURALS, THE:
The Plurals Today, The Plurals Tomorrow: A Futurospective: CD
Certain artists pull you in. Hearing them makes you say, “I could do that. I should do that!” The Ramones. The Minutemen. (Shit, The Minutemen said it from the damned stage! Watt still ends concerts by tellin’ folks to “start their own band, paint their own picture, etc…”). The Plurals belong in this company. Seeing them live is revelatory. They’re one of the few groups today whose influences aren’t merely contemporary, yet they don’t fall into some retro trap either (the days of them being some ‘90s knock-off are, like, over, man). They simply play rock music, styles and conventions and trends be damned. Futurospective is the record I’ve been waiting for them to make, and it’s been a long time coming. It’s their Zen Arcade, their Double Nickels. The record where they truly put to disc what we’ve always seen them do live. The record that, if there were any justice in the world (or if people still liked rock and roll anyways) some schmuck would be writing a book about twenty years from now. When you have a band that is this goddamned rockin’, it’s just undeniable. These guys and gal play like their life depended on it. It does. They reach new heights of musical interplay (there’s a phrase usually reserved for Rush reviews, eh?) without sacrificing one ounce of face-blowing-off power or catchiness (and this is easily the catchiest The Plurals have ever been). I’d list song titles or whatever people expect reviewers to do, but everything on this record is so all-fired great I’d have to talk about every damned one of them. (Nobody’s paying me by the word here!) I will say that “Happy Songs” is probably the best Plurals song ever written and that the moment where Nick says “Guitar!” like he’s going to introduce some rockin’ guitar solo, but Tommy just comes in with some palm muting and ends the song is a wonderful bit of probably unintentional humor. (The kind that makes me write run-on sentences, apparently.) Futurospective is the past and the future all in one place, with a voice that is undeniably their own. No hype, no bandwagon-jumping, no bullshit. Album of the year, hands down. –Ryan Horky (Good Time Gang, gtgrecords.net)


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