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Razorcake #86
Wailing Of a Town, by Craig Ibarra
Razorcake #85
Pale Angels, Imaginary People LP
Toys That Kill / Joyce Manor, Split 7"


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Record Reviews

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Below are some recently posted reviews.

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HELLACOPTERS, THE & THE FLAMING SIDEBURNS:
White Trash Soul!: Split CD
During the past couple of years, it seems that I've read boundless volumes of praise-ridden articles, reviews, and interviews voraciously advocating the mighty roaring rock'n'roll wrath of The Hellacopters. Until now, I hadn't been deemed lucky, blessed, or worthy enough by the otherwordly thundering Gods of Rock in the lightning-streaked hereafter to receive any Hellacopters' recorded rowdiness. Unfortunately, as fate would have it, I am unable to diligently review this here semi-sparkling audial platter due to severe scratches and deeply imbedded abrasions on its playing surface... yep, each and every time I've attempted to give it a rapidly whirling spin, it skips and splutters like a stuttering, malfunctioning android wired to the max on a lethal batch of homemade trailerpark meth. I dunno; in my sick, twisted, and overwhelmingly warped lil' mind, I'm conjuring images of Todd and Sean drunkenly engaging in a brutal deathmatch game of hall-hockey in their apartment and impulsively using this disc as a spur-of-the-moment substitute for a puck (actually, it looks more like they used it in an overly aggressive frisbee/rugby tournament in a gravel-strewn parking lot somewhere!). After they came to their somewhat sober senses, I can just picture 'em sayin', "Ooops, this one's a goner... let's send it to Rog... he stays so incoherently sloshed all the time, he'll never notice the difference. He'll just write it off as hardcore industrial noise terrorism, and then he'll unwittingly call it a day." Nice try, fellas! Due to your shameful bout of neglectful abuse viciously directed towards me, I'm gonna now sell my useless soul, become a psycho-rhetoric-espousin' hippie coke addict, and pompously pen artsy pseudo-intellectual pilf for Rolling Stone magazine. HaHaHa, how do ya like them cans of fuzzy lil' peaches?! Just kiddin', hombres! Seriously though, I still desperately need a Hellacopters fix someway, somehow, and sometime soon (and, hot damn, The Flaming Sideburns have a maddaddy killer-cool moniker; I'd sure like to be able to give them an attentive brew-drenched listen sometime in the very near future, as well). Anyway, if I were able to judge this badly abused disc just by its cover alone, I'd have to rate it as one helluva unruly rocker (the cover graphics are devilishly divine, indeed!)... –Guest Contributor (Bad Afro, House Of Rock)


GUYANA PUNCH LINE:
Irritainment: CD
Am I seeing a trend or are we experiencing a convergence? I'd be remiss to not mention that they're in the same razor-in-the-ice cream powerviolence treat/threat as The Locust. Blur rhythms. Shoutin' and hollerin' fuse into the occasional sound scapes and bubbling brooks. Imagine Spazz occasionally pissing into Hawkwind's mouths. This is the resultant gleek into Born Against's urine sample with a definite '00 slant to the nth degree. Or just imagine your ears getting rubbed into the asphalt. Not to sell them short, these mo'fucks is witty in their own right. Start with their song titles: "Home Fucking Is Killing Prostitution" and "Tears on the Backpack." Hell yeah. The song, "Skate the State" claims it "does not discriminate against inline skates." They've got their own philosophy - Smashism - mapped out in detail. They've got their own catchy slogan: "Songs to Disturb the Comfortable, Songs to Comfort the Disturbed." Every nook and cranny of the their CD booklet is jampacked with quotes - from William Blake to Antonin Artaud and fact checkin' Foucault's (who had the idea that all prisons should be made with transparent material), and all of this culminates in an idea on how to make punk rock take over electronic music as the youth rebellion of choice. Nude dance pits, then nude fuck pits. It's that type of forward thinking we need. Sweet, noisy, and smart. –Todd Taylor (Prank)


GREEN FLEM & THE NASTY MAGGOTS:
Nasty Hits 1989-1998: CD
This band has anime girls for their art work. Absolutely horrible. The distortion pedal must be ran over by a semi truck to assure swift destruction. They also have a wah-wah pedal. It's fucking dreadful. Black Flag meets uh, Phish or some shit. How do people like this honestly think they have the right to release music? –Guest Contributor (N/A)


GORE GORE GIRLS:
Strange Girls: CD
It's a lethargically uneventful, overcast Sunday afternoon, and my throbbing body is sluggishly suffering the stomach-churning consequences of the most hellishly harrowing hangover I do believe I've ever achingly experienced. Ah, but a soul-soothing miraculous cure for such a fuzzy-visioned, mind-spinnin' malady has just rambunctiously reared its pretty lil' head: beer (lots of it!) and the gorgeously rockin' Gore Gore Girls! This ferocious ear-plunderin' trio of cacophonously crazed, slinky-cool kittycats wildly wail with cranked-to-the-max super-distorted garagerock psycho-sizzle mayhem that jubilantly tickles my brew-soaked senses silly! They're the female audial embodiment of the early Kinks, The Sonics, The Stooges, early Pretenders, The Damned (during the "Neat Neat Neat" era), Electric Frankenstein, and even a bit of Dwarves (their "Horror Stories" release); but the Gore Gore Girls are such a divinely enigmatic bundle of aural originality unto themselves that any overly flattering comparisons to the aforementioned inspirationally roarin' rock'n'roll luminaries aren't even necessary! The demonically hedonistic naughty-girl vocals, riproarin' ear-killin' guitar riffs, blister-poppin' blood-pumpin' bass rumblings, and bombastic end-of-the-world drum boomings say it all and then some! Whooooo-doggy, I'm head-over-heels in love with the Gore Gore Girls... I'm foamin'-at-the-mouth and moonstruck... I wanna be their big bad red-hot daddy and their subservient lil' groveling' groupie boy (whichever is most preferred, needed, and deviantly desired!) for the ruinous remainder of my sin-fuelled life! So where should I apply?! –Guest Contributor (Get Hip)


GOOD RIDDANCE:
Symptoms of a Leveling Spirit: CD
Another great release recorded at the Blasting Room by the guys in All. If you enjoyed "Operation Phoenix," you will like this one. The production is dead-on and is a steam roller waiting to flatten you with its sheer power. This is their fifth full length and they seem to keep their momentum moving forward. Musically, they have always stayed within their formula and put out a great combination of good music. With their releases, I usually like the release as a whole instead of liking certain tracks. They play with the tempos from track to track to keep my attention there. As is the case on this release, I like their variety of slow songs with melody and their pumped numbers that I'm starting to hear more and more elements of Black Flag meets Blast. The lyrics are a thinking man's look inside personal demons, pet peeves, and modern day injustices. What more can you ask for? I know when I saw this in my mailbox, I was in for a long term treat. By the way, my wife love these guys and she doesn't listen to that much punk anymore. So there. –Donofthedead (Fat)


GOB:
The Kill Yourself Commandment: LP
Not the Gob from Canada, this is the terrifying Gob from Reno - the dangerous, post-hardcore one. The only kind of headbanging they care to induce is the kind that involves jail cell walls. When you buy this, pick up some morphine on the way home. –Cuss Baxter (Satan's Pimp)


GO GO:
God Bless the Go Go: CD
Did you know Belinda Carlisle was a one time Germs member? One old school punk point for you. Once a fixture in the LA punk scene, the Go Go's became multi-platinum superstars and broke up. I know Belinda had her solo career. Charlotte Caffey did a great side project in a band called the Graces, married one of the brothers in Redd Kross and played with Belinda on her first record. Kathy Valentine had a bunch of bands that played around and I had read a review saying she loved Fabulous Disaster. I'm not sure what everybody else was up to. But what a treat for me to hear that they got back in the studio to do another record. I caught their first reunion tour and was in absolute bliss. They must have felt a kinsmanship and decided why not give it another go. The first single, "Unforgiven," was written by Billy Joe from the exiled punk band Green Day. He sure knows how to write a catchy song. That track is the strongest of the bunch. The rest of the release is standard fare by Go Go's standards. Plenty of melody and pop magic. Not as good as their first singles and album, but it is an enjoyable listen. For you female pop geeks like me. If you liked them before, you should still like them now. –Donofthedead (Beyond Music)


GENERATORZ, THE:
Straight Outta Sin City: CD
This is the insurgent riot-incitin' sound of brick-tossin' streetpunk brazenness... angry, unrelenting, and aggressively in-your-face! The Generatorz mayhemically mix "old school" insolence with a blazin' bit of oi confrontationalism and sonically set the entire world aflame with their seditious skull-fracturin' songs about social class struggles, hellish junkie life, bein' down-and-out in the city slums, suicide, frustration, touring, punk and oi unity, and revolution in the streets. The vocals are passionate, vigorous, and downright piss-inspiring (both the big bad manly bulldog growlings and the brightly upbeat sweet'n'coy lil' girl wailings); the guitars furiously flare and flame like fiery conflagrations of flesh-scorchin' ferocity; the bass and drums ballistically bounce all over the fuckin' place in a brutish display of warrioristic wildness. Oi, oi, oi... The Generatorz are the aurally rebellious revolutionaries of today's disaffected youth... give 'em a listen, and you'll be tossin' molotov cocktails at fascistic authoritarian assholes in no time at all! –Guest Contributor (Mad Butcher, KOB)


GENERATORS, THE:
Tyranny: CD
This is a swift audial kick in the head that's all-at-once melodious, mayhemic, and maniacally frenetic! It's sizzlin' bad-to-the-bone streetpunk belligerence... anarchic, nihilistic, and insurgently addictive... harmonious, harried, and relentlessly hard-hitting! The Generators sonically careen all over the fuckin' place while bombastically beltin' out a blistering blitzkrieg of ferociously wild ear-scorchin' intensity. I swear on vicious Sidney's syringe-strewn gravesite (if he actually had one, of course) that the skull-pummeling punkrock mini-riots contained herein sound uncannily like a violently blended maelstrom of the early Who (strange but true!), The Clash, UK Subs (especially them!), a smidgen minuscule amount of Minor Threat, New Model Army, Leatherface, a bit of early Rancid, and bastardized bucketloads of U.S. Bombs. This ruthlessly raging disc is where the next/new generation of chaos-inspired punkrock revolt begins... join forces with The Generators, or surrender all hope and meekly die! –Guest Contributor (TKO)


GEARS, THE:
Rockin: CD
Dionysus reissued this album over a year ago, but since they were nice enough to send it to me and because it's such a good album, I figured I'd review it. This is a reissue of the Gears 1979 album, "Rockin' at Ground Zero," plus their "Let's Go to the Beach" EP. The original is a great album. The Gears played a twisted kind of sixties, Southern California rock'n'roll, kind of like a greaser Clash before The Clash went disco. You can hear the hot rods in the parking lot and bounce along with Axxel G. Reese's singing and feel like dancing and even get invited to dance with "Don't Be Afraid to Pogo." You can also hear very clearly who dominated the Cramps stereo before the Cramps started a band of their own, or who X started out ripping off. I guess it's always this way, but I still get surprised when I think of bands like the Cramps and X garnering all the praise for being punk visionaries while listening to the Gears and seeing where that vision came from. And, unlike a lot of old punk reissues, the Gears really could play and still sound cool in 2001. I'm just stoked to have this on CD. –Sean Carswell (Dionysus)


GAZPACHO:
The Demo/98: 7"EP
Although they don't really sound like them, they remind me a little of Uniform Choice, which I guess means they remind me a little of Minor Threat. Hardcore with a slight metal sound in the guitar work that's pretty good overall, but just doesn't seem to have enough "oomph" to take me over the top. I'd really like to hear what they've done lately, though. –Jimmy Alvarado (Headline)


GASOLINE:
Fake to Fame: CD
This is completely different from most of what I listen to, but I really like it. And I'm not just saying that because of the sexy picture of a naked lady on the cover. Gasoline is a Japanese band, and much like their predecessors, the Mad 3 and Guitar Wolf (at least I assume Gasoline came along after those bands, but I don't know), Gasoline has a way of merging an eclectic bunch of musical styles into a cohesive song. Songs can move seamlessly from very clean rockabilly to trashy R&B to noisy garage rock to growling blues. "Fake to Fame" is one of those releases, too, that you have to listen to as a whole album. Any single song seems just like a piece of a larger work - good on its own, but easier to understand if you can see the whole picture. The vocals sound almost like a crazy guy singing karaoke to an Aretha Franklin song, but paired with the rest of the songs, the vocals become more like another instrument, a noise to fill in a space, secondary to everything else that's going on. In the middle of the album is one painful jazzy song, but other than that, Gasoline has won me over. –Sean Carswell (Estrus)


FOUR HUNDRED, THE:
Self-titled: CD
This band broke up just after they got the CD to the manufacturer. Big whammy. Shit, this reminds me of something. Something dream-poppy, droney and it's driving me crazy that I cannot remember. The occasional My Bloody Valentine/Yo La Tengo influence seeps through. The vocals aren't all that swell. The keyboards are a tad overpowering compared to the rest of the instruments, and the recording is nice, yet a little overly echoey. The songs are way, way too long for what they are. And too many things are layered over one another - not making a pleasant noise, but a chaotic, sloppy one. Bah. –Guest Contributor (Anechoic)


FORWARD:
We Need the Truth: CDEP
Punishing mid-tempo hardcore from this Japanese outfit. Kinda makes you wonder about the accuracy of their reputation for being a quiet and polite society, 'cause their punk bands never fail in delivering that solid kick to the head when you least expect it. In short, damn good noise here, kiddies. –Jimmy Alvarado (HG Fact)


FLIPPER:
Blow: CD
Originally released on cassette only in 1984, this is a document of sorts of what a Flipper gig was like back before Will Shatter pulled a Sid Vicious/Darby Crash and died a very hippie death. 'Twas a pity to see Willie go, too, 'cause Flipper was one of punk rock's truly original outfits, intentionally placing themselves in stark contrast to whatever was popular in punk at the time. While the "hardcore" groups of the day played short, fast bursts while waxing poetic with the political rhetoric, Flipper's songs were simplistic, messy, drunken, dirge-like noise fests that went on and on and on and on and on and seemed like their only purpose was to annoy the hell out of almost anybody within hearing distance. Yet a method could be detected underneath the madness by anyone who happened to pay attention long enough. Their lyrics were often frighteningly well-written considering the characters responsible for them, and their live sets were funny as hell to watch, especially if you happened to take a friend who'd never heard them before. Much of the between song banter is sorely missing from this recording, as is their "hit" song "Sex Bomb," but the performance of the songs themselves is pretty good and the whole thing is about as entertaining as it was back when this originally came out. After a day filled with listening to a bunch of third-rate cookie-cutter hardcore/popcore/pick-your-core bands this afternoon, this was a very welcome change of pace, and it was nice to be reminded of how fun one of my favorite bands of all time were. –Jimmy Alvarado (ROIR)


FILTHY SKANKS, THE:
Bigger Than the Beatles: CD
Hot damn indeed, this is filthy, vile, obnoxious, and outrageously impure scum-rock perversity at its most brain-bashin' best (equal parts belligerent bone-fracturin' punk and mayhemic metal meatiness)! The blazin' firestorm of sick and twisted songs contained herein rowdily run rife with demon-possessed rabid-dog vocals, big, beefy guitar riffs that murderously grind into the gut like a fully revved rust-encrusted chainsaw, thundering torrents of earthquake-rumblin' bass ballsiness, and a spine-crackin' assault of dinosaur-stomp drum boomings. Yep, The Filthy Skanks raucously roar through a fast-as-fuck assortment of frenetic tit-twistin' tunes about wrestling, rock'n'roll, poontang, and the big bad devil himself... and they effortlessly flail through an oddball array of cacophonously crazed covers of The Misfits' "I Turned into a Martian," Johnny Cash's "I've Been Everywhere" and "San Quentin," and the Ramones' "Havana Affair" and "Endless Vacation" (my all-time fave Ramones ditty, as a matter of factual insignificance!). Whooooodoggy, after a brew-drenched afternoon of endlessly replayin' this diabolically deranged disc, my ears are now a mangled mass of smoldering flesh! I've sold my soul to The Filthy Skanks, and I couldn't be happier! –Guest Contributor (The Filthy Skanks)


FARTZ, THE:
Self-titled: 7" EP
Four songs you can already get on their latest Alternative Tentacles CD. I don't get it. –Jimmy Alvarado (Transparent)


FARTZ, THE:
What: CD
I don't get it. They just released a discography no more than two years ago and it's still available. Now they release this, which consists of re-recorded 15 tracks, versions of all but two of them were on the other disc and one of those two is a Motorhead cover. They sound as swell as they ever did, but what's the point? They add nothing new to the songs. After the long silence at the end of the last track, we're treated to the whole thing all over again. Fuck, "Buried Alive" isn't even on this. –Jimmy Alvarado (Alternative Tentacles)


FALL SILENT:
Six Years in the Desert: CD
A goofy picture of an abandoned "Little House on the Prairie" is on the cover. There's a picture of the band in cowboy hats in time period dress - the type that you see families having the picture taken at some mall attraction - on the back. What kind of kooks are these guys? I did not know what to expect. No indication of what was in store when looking at the packaging. I sprayed a sloppy shit all over the inside of my shorts when the first track came on. How embarrassing to have to hose off my shorts because the chunks were clinging to the inside. What came thrusting out was a tornado mix of precise speed metal mixed in with a chaos mix of anger. The singer reminded me of a mix of Springa from SSD and Spike from DRI. Hey, two Initial bands in one comment! These guys have their metal chops down, and not like all these neu-metal bands that I see on MTV-X. More traditional in the licks. They seem to want to be complicated and at the same time pull forth a rage that catches the attention of this listener. Their punk roots show in their covers of Black Flag and 7 Seconds. Their campiness shows in their cover of Pat Benatar and the theme song from Sesame Street. This was a treat - like having your first wet dream and realizing that you didn't pee in your sleep. –Donofthedead (Revelation)


EX MODELS:
Other Mathematics: CD
A while back I got the "Demonstration" CD EP from these guys. I figured that, judging by the mannequin on the cover, I was gonna be underwhelmed by some lame, poppy techno crap "played" by guys who wore a lot of black nail polish, similarly hued dresses, and had a passing interest in Aleister Crowley. What I got was eight or nine minutes of some of the best art damaged punk I'd heard in years, shit that skirted a fine line between early Devo, New York's "No Wave" scene and a Scratch Acid, fueled with enough aggression and brevity of song length to satisfy any Circle Jerks fan. This disc contains most, if not all, of the songs from that EP plus a bunch more in the same vein, resulting in 24 minutes of hellacious auditory bliss. It's rare that I get truly excited about a disc anymore and this piece of processed plastic is more than deserving. Highly, highly recommended. –Jimmy Alvarado (Ace Fu)


ESL:
MIOK: 7" EP
UROK. Although not spectacular, points go to youthful enthusiasm and points are taken away for the "heard it many, many times before" factor. Oscillates between Mutant Pop's punk (think descendants of the Queers and Screeching Weasel) like early Connie Dungs (with less lead vocal nasality) or early Automatics and transfers - screamier and thrashier - to Everready territory (dirty, drunk, wonderfully sloppy pop punk). It sounds like a band figuring themselves out. "Are we poppy? Are we harder?" and force is lost in not knowing. UROK (read as "you are OK," not "you rock." Damn license plate lettering.) –Todd Taylor (GC)


ENDLESS:
With Everything Against Us: CD
Tough guy hardcore. It's really telling that they cover a Twisted Sister song, seeing as they sound about as dangerous as that long gone cartoon of a band ever did. Might I suggest a Quiet Riot cover for your next release? How about Great White, Dokken or Def Leppard? Especially funny is the song lyric "I can't sell out 'cause I'm down for life" and under the "special thanx" section of the booklet are logos for five music instrument corporations. Hard-fucking-core indeed. –Jimmy Alvarado (Da Core)


EAST BAY CHASERS, THE:
Lock and Load b/w Blood Money: 7"
Suppose someone loaded a few of Mike Ness' syringes with estrogen and he started turning into Perry Farrell. That's who sings for the EBCs, and they play rock music, the kind where they had to put "punk rock and roll" on the cover so you'd know. They also want you to know East Bay Ray (from the Dead Kennedys!) produced it. The cover is nice but how many more cartoons of cars with giant shifters driven by monsters do we need? –Cuss Baxter (Industrial Strength)


DONOVAN:
Tiny Crustacean Light Show: CD
This is trippy, spacey, and effervescently eclectic acid-drenched audial dementia at its most tantalizing, titillating, and orgasmically intoxicating... it's a mind-altering, intricately swirlin' wahwah-laden melange of sparkle-shine psychedelia ala Hawkwind, Quicksilver Messenger Service, Bubble Puppy, a bit of 13th Floor Elevators, Electric Prunes, "Are You Experienced?"/"Axis: Bold As Love"-era Jimi Hendrix, and early Syd Barrett-fronted Pink Floyd. After numerous awe-inspiring hours of aurally ingesting the floating, fluttering, fucked-up musical magic on this here pulsatin' platter of celestial sonic atmospherics, I dreamily feel as if I've been serendipitously dipped into a multi-colored sugar-swirl vat of tropical-tangy rainbow-dyed kool-aid... and now I just wanna get buck-ass naked and freely frolic in an overflowing field of brightly glowing flowers... wheeeee, and far-fuckin'-out, man! Even though Donovan's Brain inspired me to kick off my Converse, slip into a comfy pair of beaded moccasins, light the ol' lava lamp, and fire-up a floral array of incense sticks, I assuredly ain't no hash-smokin' tofu-munchin' longhaired hippie freak... it's just that the majestic musical ornateness contained herein is so damn inspirationally divine, I momentarily lost myself in a thick billowy haze of childlike fruity-pebble nostalgia. Nothin' wrong with that, is there?! –Guest Contributor (Get Hip)


DISCORDANCE AXIS / CORRUPTED / 324:
Three Way Split: CD
I'm am so grateful that Tadoshi from HG Fact is doing what he is doing. I am also glad that he is supporting this here zine. This latest release is up there with the many great releases this label has put out. Great packaging and high quality production (I'm getting too old for the xerox covers that looks like my baby niece would have drawn). Discordance Axis start off with their trademark guitar and drums barrage of manic rage that comes and goes so quickly that it feels like you were mugged in 20 seconds. They follow with an instrumental track that is almost ambient with mellow tones to lightly stimulate your senses. The infamous Corrupted from Japan follow next and play a little shorter than they must be accustomed to. They also offer two tracks of their pure sludge sung in Spanish. You should get their full length. It's so painful and hard to listen to. It's two tracks on two CDs. I hear that they are the winners of the unofficial longest song. Topping off this release with three songs is 324. If you never heard of them before, I, and many, believe that they are very similar to the '80s grindcore band Terrorizer. Pummeling and energized grind thrash that is not easy on the ears but full of energy that makes you want you to crash your car while in a state of rage. –Donofthedead (HG Fact)


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·WE ARE THE WILLOWS
·SEKAANNUS / ABORTI 13
·SUSPICIONS, THE
·DBD
·OFFENDERS
·GBH


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