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· 1:Razorcake #81 Now Available
· 2:#326 with Tim Brooks
· 3:Featured Record Reviews From Issue #81
· 4:#327 with Kurt Morris
· 5:Webcomic Wednesdays #80


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Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock
Chantey Hook, Underground 7" *Limited Color Vinyl


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Record Reviews

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Below are some recently posted reviews.

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ANTAGONIZERS ATL:
Hold Your Ground: CD
No apologies street punk from down south. The singer was in a short-lived skinhead band called Vibram 94 who I really liked and the bassist once had a drink with one of the members of Bad Brains, or did something with them and has dreads. This is straight-up-the-line Street Dogs, Workin’ Stiffs blue-collar vibes. Gang choruses, smart production, four tracks. I was more than happy to start hating, but this is boss, especially the last track, sounding like a street punk Stitches meets Pennywise. There are some heads here at Razorcake HQ that would love this shit. Jimmy?  –Tim Brooks (Antagonizers, antagonizersatl.com)


ANGRY GODS:
“Greyed Delay” b/w “The Swell”: 7”
Holy shit, these guys are gnarly. If I had to describe this record in one word it would be “heavy.” The cover is a photograph of a desolate Midwest-looking winter while the back looks to be the same spot during spring. If I had to guess, I would say that these guys recorded this record during the cover photograph and released it when the back happened. These two songs both seem to be about the weather—dark, grey, cold weather. I hate any weather below seventy degrees; if I had to live in the snow, I’m sure I would make music this pissed off too. Check this record out if Folgers isn’t working for you.  –Ryan Nichols (Nervous Habit, nervoushabitrecords@gmail.com, nervoushabitrecords.storeenvy.com)


ANCIENT FILTH:
You’re Nothing You’re Everything: 7” EP
Massachusetts punks Ancient Filth are back with their second 7” of raging hardcore. As with past releases, the music is one brutal assault after another in the honorable tradition of past MA bands such as Out Cold and Cut The Shit. Lyrically, however, they have much more to scream about than the typical fare of “stabbed in the back” betrayal stories or suburban lethargy and disillusionment. Ancient Filth encourage us all to give a fuck, if not for the sake of others then for the sake of ourselves: to agree to disagree, to call out bullshit (organized religion, capitalist oppression) when necessary, and to question not only our country but our world: “believe nothing, examine everything.” All this without pretense or a high-and-mighty stance on the issues they feel strongest about. The artwork and packaging is, once again, stellar: a booklet sleeve with the lyrics printed on a separate inner booklet stapled in the center and a huge fold-out poster, to boot. Can’t possibly say enough good things about this band. Get this or die posing.  –Juan Espinosa (Ancient Filth self-released, ancientfilth.com)


ALONERS:
Demo: Cassette
Gruff punk that at its best sounds like the Brokedowns and at its worst sounds like one of those bands on a BYO Records comp that no one ever bothered to buy records from. It’s listenable, but nothing you’ll be jonesing for. For a demo, though, this shows a lot of promise. Grade: B.  –Bryan Static (Self-released)


AGAINST ME!:
Transgender Dysphoria Blues: LP
On New Year’s Eve I showed up to a party my boyfriend at the time was reluctantly throwing. I walked in to find a fog machine raging as hard as the guests and upping the ante on the dense pea soup already outside. Between that and wisps of cigarettes, I saw him dancing in the soft glow while the little black dress he was in struggled to catch up with his moves. “Are you freaked out that I’m wearing a dress?” he asked. “No. Are you freaked out that I’m not?” was my response and he proudly went back to being unabashedly himself. Laura Jane Grace and crew are doing the same thing on this new record, only they’re not asking anymore. Against Me! are taking the piss out of gender roles and quickly show you what it’s like to have to live day to day as someone you’re not. This album aims to get under your skin no matter where you stand on trans-acceptance. With lyrics like “They just see a faggot / They hold their breath not to get the sick,” hopefully you feel as dehumanized and fed up as she does. “Drinking with the Jocks” is the angriest track and the shortest—very straight and to the point. It is the perfect coming out song: abrasive to those who don’t understand and appealing to anyone who’s been fucked with for being who they are. To me, that’s as punk rock as it gets. Quite a few friends I know through music have come out as transgender in the last year and their actions are creating a positive shift in those around them. Musically, this record is their best since Against Me! as the Eternal Cowboy and almost makes up for White Crosses and New Wave. And for those who’ve been wondering, her voice hasn’t changed; it’s only gotten stronger and lent itself to many of us struggling with identity.  –Kayla Greet (Total Treble)


ADOLESCENTS:
Presumed Insolent: CD
Leapin’ Lasagna Luigi—here they come again with another airtight record. Rippin’ solos, cool harmonies, and killer tunes make this a great listen. Everyone sounds on their game here. “Forever Summer” and “Riptide” alone are back-to-back scorchers. Don’t pass this by just because it’s not their debut. The Adolescents are still making quality punk rock with fire down below.  –Sean Koepenick (Concrete Jungle)


ADAM WIDENER:
Vesuvio Nights: LP
Every song sounds the same, which is like shit. Dude’s voice is drowned in reverb, and some shitty, spooky Johnny-cum-lately weak ass garage backing it up. The fact that this is a solo project leads me to believe that this guy is just an annoying as his music.  –Vincent Battilana (Speakertree)


ACID FAST:
Rabid Moon: LP
What are your thoughts on Stray Dog Town by Bent Outta Shape, Detention Halls by Ringers, Light and Vision by Homeowners, or A History of Rats by This Is My Fist? If you consider yourself a fan of any of those records, then I highly suggest picking up Rabid Moon. I’ve been listening to this record constantly for over six months and it’s only gotten better over time. If you’re in the market for a record bursting with melody via male andfemale vocals, deliciously sick guitar lines, and heart-felt songs, get Rabid Moon.  –Daryl Gussin (Protagonist / Adagio830 / California Casual Cruiser Club)


ABUSE:
Self-titled: LP
Track after track of unrelenting powerviolence up to code with Canadian juggernauts Column Of Heaven and the mighty Despise You. In recent years, the powerviolence genre has flourished with new blood from all over the world. It could easily be a full-time job keeping up with the attention-worthy bands. Lucky for us, To Live A Lie is becoming more and more of a reliable authority in putting out the goods. If you miss Threatener, give your boys in Abuse a holler.  –Juan Espinosa (To Live A Lie)


2ND DISTRICT:
What’s Inside You!?: LP
This horribly corny, self described “glam-punk” record from Germany has a bit going for it, but 2nd District seems to be striving for a commercial sound simply for the sake of it. Perhaps that’s a snap judgment, but from the overproduction on down, there is an obnoxious quality to this that is just plain grating, especially the eunuch-ish vocals. It’s as if years of being made fun of egged these guys on to come up with something worthy of being made fun of. 2nd District is the sort of group you’d see in a TV representation of counterculture, wondering if it’s a real band or a group of actors pretending to suck.  –Art Ettinger (Wanda)


WIFE BEATERS, THE:
The Beat Goes On!: CD
I can’t imagine that the Wife Beaters didn’t know what they were getting themselves into when they chose their band name. It certainly started an internal conversation on my part about what it was that so thoroughly disgusted me about the name and the whole “punk as controversy” aesthetic. The whole mindset ultimately equates to undue attention for uncreative decision making. It’s easy to be crass without a purpose. There’s no grand subtext to the Wife Beaters persona, or any value in its aggressive “Come at me” nature. If the Wife Beaters didn’t have an offensive name and atmosphere there wouldn’t be much to note about them. The music is generic Ramones/Social Distortion sound-a-likes. It’s very clear that the Wife Beaters don’t give a shit what I think or what anybody thinks. Well, great, because this album is shit and you should all feel bad about the decisions that got you to play in a band called The Wife Beaters. Grade: F.  –Bryan Static (Self-released, thewifebeaters.co.uk)


VOICE OF ADDICTION:
Modern Day Meltdown: CD
With a band name like Voice Of Addiction, I was expecting an ‘80s straight edge youth crew throwback band. Instead, this Chicago trio offers slick, modern punk rock with two vocalists: One who often sounds like Greg Graffin if he blew out his voice to give him a raspier edge, and another vocalist with a higher-pitched, cleaner-sounding voice that sounds so very atypically Chicago punk rock. This four song CD isn’t bad, but it isn’t necessarily good either. Musically, there’s a rock edge that turns me off, not unlike recent Bad Religion records. The “safe yet socially conscious” lyrical content rounds out this trifecta of “meh.”  –Mark Twistworthy (Voice Of Addiction, voiceofaddiction.com)


TROUBLE MAKER:
Made in Oakland: CD
Meathead hardcore tinged with streetpunk, very much in the vein of a more monotonous Agnostic Front or Sick Of It All. It’s the kind of punk where the choruses are mostly the song titles chanted between the verses, which frequently concern getting trashed and beating the shit out of people. Made in Oakland surprised me every now and then with some rocking guitar solos, as well as the world’s most jarring Elton John reference. But they’re buried in junk like the insufferably douchey “Hit and Run” (spoiler: it’s not about traffic accidents) and way too many earnest complaints about posers. Really, by the time I got to the song actually called “Poser” I had to wonder if this whole thing was a parody. Sorry, guys: if you’re over thirty—or fifteen, really—and posers are still a serious problem in your life, we probably aren’t going to be on the same page musically either.  –Indiana Laub (Self-released, makesometrouble.com)


RUSSIAN CIRCLES:
Memorial: CD/LP
I can’t say I’ve ever given Russian Circles a chance before. I knew of them, knew they had a former member of Botch (a band I like), but they were one of those acts I felt as though I would get around to when I had the time. And I never had the time. Recently, I listened to some songs of theirs online for some reason and downloaded Memorial. And it’s fucking great and now I feel like an idiot for not catching on to them sooner. Yes, they are an instrumental, post-metal band, similar to Isis or Pelican, but Russian Circles differs in that (at least with Memorial) they are much more atmospheric in their sound. Sure, there are some songs with staggering riffs (“Deficit”) of channeling of black metal (“Burial”), but much of the album is more reminiscent of the Japanese band Mono. There is an almost orchestral sound with the music (well, there are strings on at least one track, so it seems an appropriate adjective), a pastoral richness to the music; the kind of thing you’d want to listen to as you looked out on to snow-covered fields. (The black metal song would maybe ruin that, but whatever.) While the opener, “Memoriam,” is only a minute and a half, the rest of the songs on Memorialgenerally run in the four- to seven-minute range, which seems perfect for this style. My one complaint is that the closer, the title track, should have been much longer. It’s the only song with vocals (featuring the wonderful voice of Chelsea Wolfe) and I could listen to that music paired with Wolfe’s voice forever. I appreciate the breadth of styles on Memorial and the way it flows together. This isn’t for those folks who only like heavy post-metal, nor is it for those who only like moody slowcore, but instead it’s for those with a wide taste in music. If you consider yourself such a person and like instrumental music, don’t be an idiot like me; check out this album.  –Kurt Morris (Sargent House, sargenthouse.com)


ROBERT PEHRSONN’S HUMBUCKER:
Self-titled: LP
For those not in the know, Robert Pehrsson is/was a member of a slew of killer Swedish bands, including Thunder Express/Dundertåget (with ex-Hellacopters axeman Robert Dahlqvist), Death Breath (with Imperial State Electric/Hellacopters mainman/Entombed drummer/living god Nicke Andersson) and many others. Humbucker is Pehrsson’s first solo endeavor, and, goddamnit, it is a doozy. I will say that you could probably slap Nicke Andersson’s name on a fucking Bowling For Soup record and I’d find a way to love it (Nicke handles rhythm section and production duties on this record), but, man, this is goddamned phenomenal. There’s definitely a prominent Swedish “high energy rock’n’roll” thing happening here, but with considerably more mood. Thin Lizzy, Fleetwood Mac, Uli Jon Roth-era Scorpions, Jimi Hendrix… there is a well of impeccably utilized influences here that comes together to create a record rivaling those that Nicke himself has written in the past decade. This is a genre-transcending triumph that music fans from all walks would do well to check out immediately. Dang!  –Dave Williams (High Roller)


PRETTY PRETTY:
Self-titled: Cassette
You must’ve heard the trash talk about cassette tapes and their mounting comeback. Detractors say that cassettes are a needless fad, retro for the sake of it, blah, blah, blah. To these naysayers, I offer exhibits A and B: my 1997 Honda Accord (Rhonda, if you’re nasty), and this self-titled demo by Pretty Pretty. This is a band that knows its demographic: cats who still have tape decks in their cars. Seriously, when was the last time you got a new cassette, slit the plastic wrap with a fingernail, and threw a fresh-smelling new tape directly into your car stereo? I’m guessing the last time for me was 1991, at the latest, before I started buying predominantly CDs. So, thanks to the band and their label for reminding me of being a teenager, both in terms of the cassette itself and the music on it: Pretty Pretty, a three-piece, bashes away with gleeful aplomb, stuffing hooks aplenty into their raw but inviting mostly gal-fronted garage pop bashers. The band doesn’t dwell too much on themselves, their gear, or their delivery. Instead, they bring home zee bacon without a care in the world save for the songs themselves, which has gotta be at least as retro—and as righteous—as a cassette, right?  –Michael T. Fournier (Let’s Pretend)


PELICAN:
Forever Becoming: CD/LP
Forever Becoming is the first full-length from Pelican in four years and is a good mix of the band’s previous works. While the crunchy, heavier parts are reminiscent of The Fire in Our Throats Will Beckon the Thaw (the album that garnered the band critical success), it’s also possible to hear elements of the band’s last album, the somber What We All Come to Need. However, in the case of Forever Becoming, Pelican hasn’t created any of the epic length tunes that were known on some previous albums, as none of the songs top ten minutes. The eight songs in fifty minutes seem like the perfect length. The ability to mix up the sound can be heard throughout the album, as some songs have huge riffs, the kind that find me bobbing my head and playing air guitar, while on songs like “The Thaw,” the lead guitar sounds like it could be from a Red House Painters song, circa mid-1990s. That’s not to say it’s a mellow song, because there’s the heft of the rhythm section backing it, but the lead guitar on its own is dripping with reflective emotion. Speaking of the rhythm section, for all the past complaints about the drumming, Larry Herweg’s work is steady and solid, albeit lacking any creative spark. His brother, Bryan, makes up for any lack of muscle on the part of the drums with a thick, meaty bass sound. It’s nice to hear the bass come up in the mix and give the band some spine. While guitarist Laurent Schroeder-Lebec is no longer in the band, Dallas Thomas has filled in perfectly. His addition hasn’t caused the band to go in an entirely new direction, instead it seems to have given the band some new clarity, especially after not having put out a new full-length in four years. The mix of songs the band has put together here is fresh and creative, but still everything Pelican has come to be known for. If you’re unfamiliar with the band, start here.  –Kurt Morris (Southern Lord)


MAKEOUT PARTY, THEE:
Jungle Cruise: 7”
Sunshine pop-inspired bubble gum from the boys behind Burger Records. Cutely, the 7” includes a package of crayons for you to color in the black and white sleeve that depicts the “Jungle Cruise” sung about in the title track. The tune is a touch too cutesy for my tastes, sounding a bit like the theme song to a ‘60s Hanna-Barbara cartoon. Though, the vocals spoken over the psychedelic pop do also bring to mind Alice Cooper’s “Alma Mater.” The B-side, “Bittersweet Bubblegum,” is much more lush and—despite its name—is for, perhaps, more grown-up tastes than its counterpart on the flip side. Bright, ringing guitar chords balanced with single note picking and a brooding bass that begins quite cheerfully before building to crescendo. It’s more in line with the Velvets than the Archies.  –Jeff Proctor (Bachelor)


IT-MEN, THE:
Greatest Its: 2 x LP
Double LP release from a Cleveland band that appears to be obsessed with the Stooges and MC5. Kinda wild to see a band whose first release is a double LP with two printed inner sleeves in a gatefold sleeve. Perhaps in the Kickstarter culture we’re in, this will be something that will happen more often. The It-Men appear to be interested in rocking—or more accurately “rawking”—but the tunes just aren’t there. There is a real tendency to cop an MC5 riff and just shave all of the edges off, leaving the whole affair sounding kind of tame and flat. The fake ringwear that is a part of the sleeve packaging is a perfect metaphor for this band and many others who do the heavy garage rock thing—trying to appear worn-in and vintage without the vibe and guts to do the thing that their heroes did. This is okay stuff but done much better by, say, The Cherry Valence or, certainly, Detroit American treasure The Go.  –Mike Frame (Davenport, theitmen.bandcamp.com/music)


HEX BOMBS, THE:
None Shall Be Forgotten: 7” EP
Notably, The Hex Bombs are the first band I have seen to ever use camouflage vinyl. The coloration is an approximate mix of that classic Army camouflage and the more recent Miller High Life camo cans you can find in the casserole cooking Midwest, which works for The Hex Bombs, a streetpunk group out of Kalamazoo. With the A-side, “None Shall Be Forgotten,” The Hex Bombs give a sincere sing-along ode to people in uniform with guest vocals by Mike McColgan, who is as catchy on this song as on any of his best work. (That alone might be a reason to check out this new release if you’re a Dropkick Murphys or Street Dogs fan looking for something new, but with familiar roots.) The B-side “Destination U.S.A.” is the faster of the two songs and runs a more comedic angle. Lyrically, it’s is a send-up of American mediocrity from a group that loves their country, but isn’t afraid to view it critically and sing to it satirically— “First in guns / last in science (sports, sports!)” is one memorable line. Check it out and confound your friends with the insane vinyl coloration.  –Jim Joyce (East Grand Records Company, eastgrandrc.com)


DESTRUCTORS, THE:
The Sublime, the Perverse, the Ridiculous: CD
Before the Destructors first self-destructed (don’t blame me for that one; it’s straight from the promo sheet) in 1983, they drafted a blueprint for what was intended to be their second full-length. Thirty years later, the current lineup has revisited the songs to give the album the chance it never had. The effort generally avoids sounding like a lukewarm reenactment—after all, this is no feeble reunion but a band that never really gave it up for good, multiple hiatuses notwithstanding. That being said, there’s no new ground to be covered here. This is straightforward streetpunk from the ‘80s played by guys who have been playing since the ‘70s. The band plays tightly but predictably while Allen Adams barks scathing couplets on the usual topics: war, religion, and capitalist exploitation. The album trails off with unnecessary renditions of “Wild Thing,” “I Wanna Be Your Dog,” and “Louie Louie,” perhaps the most exhausted covers in rock’n’roll. A few surprises do stand out, including the grim sludginess of “Body Bags” and the ominous breakdown in “Nerve Gas.” But at its heart, this is gruff, working-class U.K. punk rock to listen to with your boots on.  –Indiana Laub (Rowdy Farrago, thedestructorsuk@googlemail.com, destructors666.com)


CRIATURAS:
Espiritu de Libertad: LP
There’s something about the Spanish language that is perfect for hardcore (the same goes for Italian, too) in that it somehow has more of a snap to it as well as providing me with a learning experience as I seek translations of a host of words and phrases. This Austin, TX-based band employs Spanish to good effect as part of the whole battering ram approach that the thirteen tracks provide. Criaturas comes across like a mix of Slöa Knivarand a slightly less frenetic Ruidosa Immundicia, with a female-fronted hardcore delivery that steamrolls through the door having had no intention on knocking politely. Whilst there is no doubt that this album rages, it certainly contains enough melodic elements to stop it from sounding one dimensional. Definitely the strongest material I’ve heard from the band.  –Rich Cocksedge (Hardware, chris@hardware-records.com, hardware-records.com)


BOXSLEDDER:
Rad: Cassette
I will go on record as the one Razorcake staffer who is openly skeptical of the “org-core” trend that has at one point or another stigmatized both the fanzine and record label imprint. I reluctantly find some of the reasons for all the hate warranted: not everyone who falls in love with Tiltwheel and Dillinger Four needs to replicate that sound. Diversity is a beautiful thing that I wish more bands would embrace instead of rehashing ad nauseam. Ah, but then again: once in a while a band comes along who not only sports the beards and shotguns the beers but can also write a great pop punk song or ten. Boxsledder do a damn good job of saluting the originators of beardo-punk while holding their own with heartfelt and sincere lyrics, and melodic-but-powerful guitar hooks. Quick, someone help them put this out on vinyl format before they decide to gut some more old Nintendo cartridges and use them as cassette cases (which was a great idea for the sake of novelty but a pain for filing away purposes). Still, thumbs up all the way!  –Juan Espinosa (Self-released, boxsledder@gmail.com, boxsledder.bandcamp.com)


BLANK EXPRESSIONS:
Breakdown: CDEP
Modern poppy punk rock that’s heavily inspired by a range of ‘70s and ‘80s punk rock. The rapid-fire power chords and ever-so-slightly reverby vocals send my mind right to X (or Generation X, for that matter), not to mention the unexpectedly Clash-like breakdown in the opening track. City Mouse is the most obvious contemporary comparison—just amplify the new wave and power pop nostalgia by an order of magnitude or so. Frontwoman Rita Vanegas’s snarling vocals sound a little affected for my taste at times, but it’s a stylistic choice and she sure as hell knows how to work it. This is bouncy, aggressive punk rock’n’roll that could definitely ignite a sweaty bar or garage within a chorus or two.  –Indiana Laub (Rebel Noise, info@rebelnoiserecords.com, rebelnoiserecords.com)


BLACK BLACK BLACK:
Self-titled: LP
This is a hard rock record for fans of Big Business, Melvins, Dragonforce, and Pentagram. There seems to be a bit of humor mixed in with Black Black Black’s mix of heavy rock and roll, at least I hope they’re joking at times. Some of the song titles such as, “Pentagram On” and “Soar Like a Spider” should give you some insight as to what I’m talking about. There are a lot of chugga-chugga guitar riffs; most of the songs are very riff-driven. The recording sounds great, the instruments are tight, and the production is clean, “Get your pentagram on.”  –Ryan Nichols (Aqualamb, aqualamb.org)


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