Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine
 

























· 1:The Backpatches of NYC (Collection 1)
· 2:Bollweevils Interview
· 3:Designer Baby
· 4:Interview with Western Settings
· 5:#408 with Michael Fournier


Subscriptions
Renewal
New Subscriptions
Stickers and Buttons
Gift Subscription


Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91
Razorcake Embroidered Patch


Can't find Razorcake at your favorite store? Lend us a hand and we'll send you a free issue.



Razorcake will send you one free issue if you ask your librarian if they would carry Razorcake in their stacks. (This offer is good for both traditional libraries and independent libraries.) To get the free issue, you must send us the librarian's name and email and the library's postal address. We will then contact them directly and donate a subscription to them. U.S. libraries only, due to postage.

No Idea Records

Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Below are some recently posted reviews.

RSS Feed

BEHIND THE WAGON:
11 songs: CD
This record really catches fire on the fourth song! After three perfectly fine tunes, Behind The Wagon just nail it, starting with “Battle and the War” and the record is fantastic the rest of the way through. The cover looks indie, the band name sounds alt country, and the sound falls somewhere in between. The sound is a lot like Gainesville’s The Takers but with less grit, or like Dinosaur Jr meets the more recent punk rock retirement plan alt country sound. Since I am a big fan of all of these sounds, I really enjoyed this record. –Mike Frame –frame (Double Barrel)


AV OKUBO:
The Greed of Man: CD
A four piece indie rock band from Wuhan, China formed in 2006. Quite bland music that I would describe as the shittiest songs Gang Of Four released in the mid ‘80s mixed with what I would imagine the Strokes to sound like, although I have never knowingly listened to them and only have negative stereotypes and press to go by. Things get worse on the last two tracks on the nine-song release when the eighth track sucker punched me with some horrid techno rock with overtones of that dreadful disco version of “Cotton Eyed Joe” that came out several years ago. To add insult to injury, the last track was an extended remix of the abhorrent techno tune on track eight. –Jake Shut –todd (Maybe Mars,maybemars.org)


AUXES:
Ichkannnichtmehr: CD
The people responsible for this are apparently somebodies in the big world of punk rock superstardom, but I couldn’t much give a toss past what’s coming through the speakers and, surprise, it ain’t all that bad. They manage to find some sorta sweet spot between hardcore, skronky post-punk, and melodic modern punk that results in something that’s both dissonant and oddly catchy. The direction they’re coming from is an interesting one and on the whole this was much better than expected. –Jimmy Alvarado –jimmy (Gunner, gunnerrecords.com)


ASSHOLEPARADE:
Live in Rostock: 10”
I’ve always doubted the legitimacy of live releases because it feels like an excuse to release a record to make money when the band is too lazy to just write material. Also, most live records just aren’t very good. I was delightfully surprised when I put the needle down on this one to hear a high quality live set that flows well and is decently recorded. Most of these songs have been released on other records (maybe all of them?), and the band also throws on a Citizen’s Arrest and an Infest cover. To Live A Lie specialize in that “cult grind” niche, and this record is definitely a cult record. A good bit of their material is still available from No Idea, so while the quality and range of material on this record makes for a good introduction to the band, I think majority of the people who will go out of their way to track this record down are people already familiar with Assholeparade’s gritty, angry brand of hardcore, and I don’t think any of them will feel let down. –Ian Wise –Ian Wise (To Live A Lie)


ASSASSINATORS, THE:
I Disse Mørke Tider...: 7” EP
My inkling is The Assassinators are too poppy for the black patches, white ink crusty crowd and too overtly political (and not singing in English) for the pop punk crowd. This is too bad, because I think both camps are missing out on one of the strongest currently-running bands in Denmark. Musically, they share the catchy tightness of bands like Funeral Oration, Harum Scarum, Signal Lost, Knugen Faller, and Gorilla Angreb. Politically—with not only English lyrical translation from Danish, but song-to-song explanations and essays that shed light on subjects like the current right-wing-ification of traditionally immigrant-asylum-cool Denmark—the record reveals a band concerned with deep, long thought, just not cast-off, sing-along slogans or vaguely “political” statements to keep the pit going and fists pumping. Highly recommended. –Todd –todd (Halo Of Flies, halooffliesrecords.com)


ARTIFICAL PEACE:
Complete Session November 1981: CD
It’s quite a coincidence that this session is put out by Dischord now, along with a recently unearthed Government Issue session. At Government Issue’s one-off reunion show recently, drummer Mike Manos of Artificial Peace got up and played a few songs with the opening band. Okay, maybe that’s not amazing, but this record is. Only released in pieces back in the day, this is seventeen songs clocking in under twenty minutes. That’s how old-school harDCcore should be played. “Suburban Wasteland” and “Neighbors” stick out for me here, but they all spill over with youthful aggression. The only misstep is the goofy cover of “Wild Thing,” but it’s good for a laugh. Three of the members of A.P. went on to greater success with Marginal Man. But get this to hear where it began back in 1981. –Sean Koepenick –koepenick (Dischord)


APATIA:
100 Percent Vegetarian Band: LP
Not uncommon; I had to do some research on this band. Originally formed in Poland back in 1989 and this is a re-release of their 2000 LP. It’s interesting that the songs are from the time span of 1989-1991. From what I read, this was their fourth LP or release. I’m guessing that writing music came slowly for this highly regarded band. It’s interesting that there is a Good Riddance cover, too, since their musical stylings are not similar. This band’s music is more in line with their Eastern European lineage in sound. More ‘80s than new millennium. Raw production that is more on the clean side. It gives the guitar sound that twangy tone. The punk rock is solid, though, with some sprinkling of metal riffs on some and a post punk edge on others, giving it the grit that it needs to keep my attention. Also, the playfulness with the new wave intros is a nice touch. I love releases like this. It’s like a history lesson on a new subject. –Donofthedead –don (Pasazer)


ANTI-SYSTEM:
Self-titled: CD
Anti-System were an English band closely tied to that country’s legendary early ‘80s anarcho-punk scene. What set them apart from many of their peers was their adherence to a thrashier sound more along the lines of the UK82 crop of bands than the almost artsy approach of bands like Poison Girls, Crass, and The Mob. The tunes here, pulled from assorted demos, albums, and EPs, show the band’s progression from some raging hardcore to a slower, yet no less intense sound. Despite numerous spelling errors, the packaging is top notch, with the CD accompanied by a thick booklet crammed with old fanzine interviews, informational flyers the band ostensibly once distributed, photos, and even the band’s family tree. Kudos all the way ‘round here. –Jimmy Alvarado –jimmy (Anti-Society,antisocietyrecords@yahoo.co.uk)


ANTILLECTUAL:
Start from Scratch!:: CD
Mediocre, overproduced punk rock with a very ‘90s vibe. Some of the tracks go sort of emo in a Promise Ring way and the faster songs sound like Pennywise outtakes. Not the worst thing I ever heard, but nothing I would recommend. –Jake Shut –Jake Shut (Shield,shieldrecordings.com)


ANTI YOU:
Two-Bit Schemes and Cold War Dreams: CD
Speedy hardcore, courtesy of these Italian thrash monsters. You get the seventeen tracks that comprise the album itself, plus the tracks from the Johnny Baghdad and Pig City Life EPs and covers of Discharge’s “Hear Nothing See Nothing Say Nothing” and Descendents’ “I’m Not a Loser.” The lion’s share of stuff here is amped way the fuck up and will surely warm the hearts of your favorite speed freak punker pals. –Jimmy Alvarado –jimmy (Six Weeks, sixweeksrecords.com)


ANTHROT:
Self-titled: CD-R
These kids cover both Dropdead and Rudimentary Peni, which, fortuitously enough, also serve as nice parameters on where they’re coming from. They’re dolin’ out hardcore, and tons of it, vacillating between hyper-speed and slower ‘n’ brooding with nihilistic lyrics addressing children, chem trails, the Jesus punk scourge, and other topics. Dunno if this is their first recorded outing, but if so, they’re off to a flying start ‘n’ it’ll be interesting to see where they go from here. –Jimmy Alvarado –jimmy (Loop The Feedback,loopthefeedback@gmail)


ANDY HUMAN:
Self-titled: 7”
Catchy retro-new wave is the order of the day here, dripping with pop hooks and slight ‘50s undertones. Perfect for your next KROQ Flashback Weekend get-together. –Jimmy Alvarado –jimmy (Tic Tac Totally, tictactotally.com)


20 BELOWS, THE:
For Better Days: CD
This four-piece power pop band from Denmark offers up a solid record here that’s a bit hard to categorize at first listen. “Like a Choke Slam” and “Double Gin” are standouts. Solid guitar riffs—and maybe a bit of Mike Ness in the vocals—but way more exciting than any Social Distortion song. I like how three out of the four guys in the inside cover photo are all dressed the same. The one guy who didn’t get the memo should get with the program for the next photo op. –koepenick (Monster Zero)


REACTION, THE:
We Have Nothing to Lose But Boredom: 10”
This record is a definite testament to the awesomeness of The Reaction’s live show. Unfortunately, you wouldn’t know it unless you had seen The Reaction before hearing this disc. Live, they attack you aurally with a loudness that will drown you in their brand of punk-tinged, druggy indie rock. While a few tracks convey Reaction’s radness, too many seem to fall victim to “advantages” of recording. Live, their instruments seem to form like Voltron or a chimera-like beast. Here, they seem too separate and clean. While not a bad record, it is not what I want from a Reaction recording. –Vincent Battilana (Let’s Pretend, letspretendrecords.com / No Breaks, nobreaksrecords.com)


DADS:
Hat Creek: 7”
Post-punk weirdness in a Sonic Youth sort of way that has its subdued moments and its jammed out ones can be found on the front side. On the back, you get weirdo dub. Both sides are good, but I’m digging the B-side much more; it’s chilled out and subtly odd, great for making coffee to on an uneventful morning. –Vincent Battilana (Katorga Works)


JOYCE MANOR :
Self-titled: CD
Goddamnit. I never think of myself of a person who has guilty pleasures, but I am. I won’t mention all of them, but I’ll ashamedly admit that I have a spot for Saves The Day’s Through Being Cool and The Desaparecidos’ Read Music, Speak Spanish. The reason that I name those two names is that I think that they are relevant to this review. I hear bits of both of those records in this one. Hell, I even hated this CD the first time I heard it, just like the first time that I heard Saves The Day. At first, it sounded like some poppy emo for that nobody over nineteen years of age would give a second play. Upon a more careful listen, JM have some interesting instrumentation and decent lyrics, showing an honest and heartfelt side. You should think about picking this up and hiding it from your friends. –Vincent Battilana (6131)


MING DONKEY AND HIS ONE MAN BAND:
“Waiting on the Georgia Line” b/w “Lil’ Cross-Stitch Bitch”: 7”
I have never been one for blues rock. Part of me wishes that I could at least understand the attraction to it or could point to a bad introduction to the genre as my reason for disdaining it. Alas, I was born to hate blues rock. The A-side of this record is bluesy ala Bob Dylan when he got bluesy, with a worrisome and down-and-out feel. The B-side just makes me cringe and fill with hatred when I hear it, as I can’t even relate it to something for which I have some sympathy (like one of Dylan’s shitty periods). –Vincent Battilana (Ming Donkey)


BAD BLOOD REVIVAL / STUPID PARTY:
Double Fantasy: Split 7”
Not in recent memory can I think of two bands better fitted to share a slab of vinyl. Stupid Party put out a rather excellent mini LP a couple years back, and BBR put out a fine LP last year. Both were grungy in their own ways: SP had a stoner punk ala Melvins thing going on, while BBR went the noisy and abrasive route. BBR reminded me of SP when I first heard them, and then I found out that they did a tour together. Neither band is a let down on this release—nor offer much of a departure from those efforts—but their LPs, mini or otherwise, are definitely where to start. That said, if you already have those and wonder whether you should get this split, the answer is “yes.” –Vincent Battilana (Mauled By Tigers, no address)


COFFEE PROJECT:
Moved On: CD
Half acoustic guitar, half horn of some sort, all suck. –Vincent Battilana (Paper + Plastick, no address)


ZOLTARS, THE :
Self-titled: 7” EP
Four songs of clean guitar stoner punk pop that are more about being clever, quirky, and writey than being a turbocharged engine of electro-hook virility, yet still sound more like a bunch of guys plunking around in a basement than the exoskeletal armor of some overly precious songwriterly guy who sits around all day four-tracking. I wouldn’t say this is a completely life-affirming necessity like Eric & The Happy Thoughts or Charlie & The Skunks, but “Party at the Batcave” is pretty cool and the other three songs are decent, so it’s a good thing Walgreen’s is right next door. BEST SONG: “Party at the Batcave.” BEST SONG TITLE: “Homicide” if you’re 999. FANTASTIC AMAZING TRIVIA FACT: Whilst “Zoltar” is the brand of animatronic fortune teller machine that transmutes Tom Hanks into a grownup in the movie “Big,” i always associate it with the villain from “Battle of the Planets.” –norb (Sundae)


GIRLS OF PORN :
Self-titled: 7” EP
There are certain masterpieces of din that, on first blush, lead the listener to legitimately question whether there is or isn’t any legitimate underlying attempt at ROWK, as we have come to understand it, beneath the squalling and chaos and the white noise and the what-not ((the first time i heard the second Guitar Wolf album comes immediately to mind))—racket on such a molecular level that it seems to transcend ((or, in some weird way, precede the creation of)) such muso rubbish as structure, notes, melody, or, heck, any type of discernably discrete sonic quanta, really. This might be such a time. Took me at least two spins to realize that they were actually playing songs under all the echo and the bashing and such, and playing them rather rapidly ((as far as i can tell)). Further excavations have led me down the path of suspecting that this might sound like NoMeansNo minus the funk crossed with the first Meat Puppets ep played underneath a sea of semisolid Cramps echo with a little red square badge of the Urinals’ third single while trying to recreate “Land Speed Record” in an empty swimming pool, but, ultimately, i’m not really sure. There are words on the lyric insert and slight fluctuations in the echo that lead me to believe they may be singing them at various points, but, again, i’m not really sure. Unfortunately, none of this record’s alleged four songs have really grabbed me ((yet)), but the band’s spunk must surely be unquestioned. BEST SONG: uHHhhh… BEST SONG TITLE: “NBA Jam.” QUALITY OF 3D EFFECTS: Not bad. –norb (Girls Of Porn)


MEERCAZ:
Space Hate: 12” EP
Seems like a racketocious five-piece or something, with a clean right ear guitar, a fuzzy left ear guitar, a possible bass which might actually just be some leftover drum resonance or a passing balloon, drums, keyboards and/or a theremin, but then ya look on the back cover and it’s just three guys making this Mick Farren-ish extra-terrestrial Benzedrine racket, so they must either be incredibly dexterous or have multi-tasking down to a fine fucking art on their home planet. Flanger on the guitar yet! I thought they banned that the same time they banned the Space Piledriver. Really sounds more like aggressive stoner proto-punk from the mid-to-late-70’s ((maybe if Rock Bottom & The Spys eventually released their own “Sandinista!”?)) than it sounds like anything current, except for little chromatic things in “Unbreakable Song” that would have been disallowed under the rules of that period. I can’t truthfully say that i, for one, completely welcome our new insect overlords, but maybe that is just because they look more like the Bee Gees with smiley faces pasted over their mugs. BEST SONG: “Moving Up At The Speed of Sound” BEST SONG TITLE: “Space Hate” and “Unbreakable Song” are both pretty great. FANTASTIC AMAZING TRIVIA FACT: Mixed at Red Lantern, the most violent of the Lantern Corps! –norb (Tic Tac Totally)


MORAL CRUX :
I Was a Teenage Teenager: LP
I was first set hip to Ephrata’s ((Moses Lake’s???)) finest circa 1984, when long-tenured punk scenester and all around bon vivant Pat Smick mailed me a copy of some demo or another ((from which i have been known to fruitlessly request the smash hit “Brain of My Own” to this day)). There wasn’t really much noticeable change in the band’s anthemic, vaguely Anglo, faintly political, Generation X-styled-vocals over a blockier, slightly rock’n’rolly, early-80’s-not-quite-hardcore guitar-based backbone in the fifteen year span between that cassette and the original release of this album, and there hasn’t really been that much change to speak of between 1999 and this reissue, either. We like that, because we like Moral Crux, and we don’t really want them to change much over twenty-seven year periods, and they don’t, which pleases us. So, bearing in mind that any given Moral Crux album probably sounds plus-or-minus 15% as good as any other Moral Crux album —that is to say, all other things being reasonably but not quite equal—a young punk lad or lass, when confronted with reissue wave forty-six of Moral Crux albums one, four, three, eight and twelve, might wonder if, given that this one has got probably the best cover of the bunch, and pretty much the best album title of —oh, i don’t know, EVER— if this particular platter should not be The One Moral Crux Album That One Should Buy, Were One Only To Be Buying One Moral Crux Album. To this, i’d respond “eh, probably not.” Great title ((and relative overall homogeneity of quality of output)) aside, this one always seemed like one of the band’s more slapped-together releases ((as these things go for Moral Crux)): It’s a lot of songs from a lot of different recording sessions spread out across a several year period—with a rare lineup change in the middle—and includes songs released on a number of compilations, a split single, and a cover of “Teenage Kicks” ((which is not at all a bad version; then again, if you’re gonna put “Teenage Kicks” on an album, what comes next? “Blitzkrieg Bop?” “Louie Louie?” “Chopsticks?”)). Basically, half the album is miscellaneous odds and ends, covering the period of the mid-90’s where it seemed like the band was finally out of gas, and following thru to their triumphant half of the Moral Crux/Boris The Sprinkler split, whereby their side’s concise Ramoneyness kicked our side’s ass but good, sparking a sort of neo-Renaissance ((or, at bare minimum, a second wind and/or new leash on life)) and a veritable tizzy of activity and interest, though, again, the band really doesn’t make bad records, and there are a number of standout tracks ((the raucous “Booked On Suspicion,” “Breakdown” from the “Punk USA” comp, and the compact and boffo “Don’t Need You” from the aforementioned split)). So anyway, if you’re only buying one Moral Crux album today, i’d probably direct you to their 1987 debut ((i know, what an original thought, right?)). If, as with Schaefer beer, you’re having more than one, then you might as well pick this one up, too, because god DAMN that is a good album title. BEST SONG: “Don’t Need You”  BEST SONG TITLE: “Single Bullet Homicide”  QUALITY OF 3D EFFECTS: Underwhelming ((although the 3D aspect of things did provide me with the revelation that this album is possibly the band’s “Anthem For A New Tomorrow”)) –norb (Jailhouse!)


INTERNATIONAL DATELINES:
Self-titled: CDEP
Milwaukee has, of late, ponied up a fine rivulet of cookie-throated femme-fronted poppity types ((the Sugar Stems, the Flips, i guess Ramma Lamma to a certain extent)), and i don’t know if i’m just remembering things incorrectly or there was some manner of sea change in the band’s aesthetic manifesto, but i seem to recall the Datelines being a bit more Junior Varsity/Kung Fu Monkeys kitschy when i saw ‘em live a while back. This stuff sounds a bit meaner than i recall—like, i half expect them to bust into that Jimmy Reed number about partner-swapping that the Del-Monas ((or somebody)) covered, when i might’ve been initially expecting lyrical content involving a milkshake—but, then again, maybe i didn’t take good notes the first time and my observations are roundly invalid. Either way, things are more “(I’m Not Your) Steppin’ Stone” than “Look Out (Here Comes Tomorrow)” at present, but, with parentheses like that, i should worry? One thing i don’t understand is how all these female songwriters wind up with all these guys whom, apparently, treat ‘em so poorly—since every guy i know thinks that, all else being equal, girls in bands are cooler than girls who aren’t in bands, one would assume there would be no shortage of better-behaved potential suitors for these wronged lasses. I can only conclude they don’t know where to shop, male-wise. Alas. BEST SONG: “Gossip”  BEST SONG TITLE: “No No No” if you’re a Generation X b-side  FANTASTIC AMAZING TRIVIA FACT: Forty percent of these songs begin with the phrase “you’ve got me” –norb (International Dateline)


REDONDO BEAT:
Meet Redondo Beat: CD
I strongly associate Dionysus Records with producing records by bands that, on the surface, should probably appeal to me on some level, yet always wind up making records so sanitized and dead-sounding that they never actually do. I mean, Redondo Beat, hmm, with a name like that you’d figure they oughtta be a Californian version of the Barracudas ((whom themselves were about as Californian as an English band gets)), which should, by rights, be decent, even though the band is actually from Germany, which should maybe be even better, shouldn’t it? Yet, no matter how many times i listen to this, nothing ever “gets home” ((as we say in football cities where pass protection is a common discussion topic)), and i can’t help but thinking that if these songs were recorded by Del Shannon or the Plimsouls or someone ((or, in the case of “From The Start,” been one of the downtempo numbers on Stiv Bators’ “Disconnected” album)), they woulda come out much better, though i can’t give you any specific reasons why. This label’s offerings are almost invariably devoid of some critical spark of life to elevate them above “OK i guess” status, and, tragically, Redondo Beat uphold the company tradition admirably. BEST SONG: “The Sweetest Sound”  BEST SONG TITLE: “Shoop Shoop”  FANTASTIC AMAZING TRIVIA FACT: “Shoop Shoop” is not to be confused with “The Shoop Shoop Song,” which is a completely different bunch of shooping. –norb (Dionysus)


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Razorcake Podcast Player



·BETTY MACHETE & THE ANGRY COUGARS
·VARIOUS ARTISTS
·TED LEO/PHARMACISTS
·KRUMBUMS
·OZOMATLI
·SLIT PLASTERS, THE
·LOVED ONES, THE
·ACID MOTHERS TEMPLE
·RANDY


Razorcake Podcasts



If you live in the Los Angeles area and want to help us out, let us know.



Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.



 
Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2015 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.