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:#377 with Daryl Gussin
· 2:An Interview with Soul Side’s Bobby Sullivan
· 3:Webcomic Wednesdays #146
· 4:War and the American Elite
· 5:We Came! We Saw! We Fested! - Fest 2015

New Subscriptions
Stickers and Buttons
"Because We're Fuckin' Classy" Koozie

Basement Benders, Lydiad LP+7"
Apocalypse Meow, The End Is Nigh LP
Razorcake #88
Cuntifiers, Under the Rainbow CD
Razorcake Punx Por Vida XX-LARGE T-shirt

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

Mizubukurentamashii: 7"EP
Really wonderful fold-out die cut cover on this eclectic (Japan = natch), but mostly heavy thrash, record player record. –Cuss Baxter (Answer)

Mizubukurentamashii: 7"EP
Nice, colorful packaging that opens up in all directions in a cross shape with lyrics and pictures on the inside. Musically, this is a little hard to get the mind around.... For the most part, it's grindy Japanese hardcore, but there's an almost emo undercurrent that causes the songs to lurch and stop, switch volume and tempo. This ain't bad, but it's gonna take some gettin' used to. No wonder the bassist looks painfully constipated. –Jimmy Alvarado (Answer)

Bad Labels Can Destroy the Best of Men: CDEP
Infamalde unleash an intricate and complex audial attack of fiery rage somewhat similar, but vaguely comparable, in sonic style, structure, and content to Fugazi in varying degrees of abstruse intensity. The songs are technically well-structured and energetically impassioned in delivery... ambitiously alternating between frenzied mercurial madness and calm mellow moroseness. After numerous attentive listens, Infamalde have left me deeply pondering the flurried brevity of my very own aimless existence... ah hell, nothin' another iced-down 6-pack can't cure! So if you'll excuse me, I now intend to get thoroughly sloshed on another round of foamy brewed beverages and the addictively ingratiating sounds of Infamalde... –Guest Contributor (Infamalde)

The Essential Fucked Up Blues!: CD
Never heard of em, went to see Bob Log III, and these guys were playing when we walked in. Beat me unmercifully senseless with my own affinity for what happens when punk gets busy with the blues. (Bob Log III was great, but they made him look like Tiny Fuckin' Tim). (Made Jon Spencer's Blues Explosion sound like Tiny Tim with a bottle of Wild Turkey). A duo (guitarist Cheetah was in the Quadrajets, drummer The Boss was in Sphamm), the ILCKs prove - PROVE! - (if Jucifer did not (but they did)), you don't need a bass player to rock like a fuckin' earthquake. No two ways about it: three great big guitar amps, three piece drumkit, three tons of ESSENTIAL FUCKED UP BLUES! –Cuss Baxter (Estrus)

For Those Whose Hearts and Souls Are True: CD
"No, but it's good." That's usually how I finish telling people what the Hudson Falcons sound like. I usually say, "It's street punk with a Bruce Springsteen influence." Then, I look at a face (it doesn't matter which face) twisting into a wince, and I say, "No, but it's good." I'll be the first to admit that I don't like the Boss one bit, and sometimes I chuckle to myself when I see HF guitarists Mark Linsky and Chris Lynn pulling their best E Street Band pose, but you can't fuck with the songs. They're catchy, rocking working class anthems. And unlike the scores of guys who've never held a job singing songs about the working class, for whatever reason, I believe it when I hear it from the Hudson Falcons. It's like when someone injures himself, you can hear it in his scream. He may have been screaming all day about shit and you didn't pay attention at all, but when someone screams out of real pain, you recognize that pitch in his scream. The Hudson Falcons have that pitch to their screams. But it's good. Oh, except for the ballad. No punk rock band should ever do a ballad ever. It sucks. –Sean Carswell (GMM)

A Flight and a Crash: CD
The first ten plus listens, my chin was getting a lot of scratching. I let it. There have been HWM albums that take some time to gear into. Many of those have turned out to be my favorites. The biggest leaps to this from "No Division"? No immediate "us against them" anthems. Less screaming and gruff yelps. Fewer change-off vocal volleys between Chuck and Chris. The lyrics are getting less site specific (say, like Gorilla Biscuits) and more open to interpretation (like Fugazi, but a little more focused. For example: "oh, but fucker, yeah, you'll get yours"). Then it took me by surprise. I was humming the line, "who are we but savages hooked on accessories" out from nowhere. I found the instrument melody to "A Clear Line" strung through my head when I was taking a shower, rinsing me along with my soap. I began to enjoy what I suspect was evidence of a larger recording budget. All the little cycling sound effects. The bell sounds. The embedded voice tracks. I heard the texture they added to the songs instead of being annoyed that I wasn't getting exactly what I was expecting; which was HWM's past. Fifty listens in, "A Flight and a Crash" doesn't only stand with my favorite HWM albums, it quite possibly stands at a larger musical crossroads. They've stretched the fire of hardcore into the smoldering embers of emotion and didn't puss or art or tinker themselves out. They didn't give me what I wanted, necessarily. They gave me what I needed. Which is the album they needed to make, not the one I expected to hear. Excellent. –Todd Taylor (Epitaph)

A.k.a. I-D-I-O-T: CDEP
Straight-up, tits-first, no-brakes, all cash, no flash Swedish garage rock that ranks right with the highest of the lowest and dragstrips right through all six songs without hesitation. Fantastic. Frenetic. Wonderfucked. Goes right into the collection next to the New Bomb Turks, Scared of Chaka, Motards, Teengenerate, and Loudmouths. (If you're strapped for cash, go for the "Barely Legal" CD. All these songs are on there, too.) –Todd Taylor (Gearhead)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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

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)

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

| 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

·Ryan Horky's First Column

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.