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:Webcomic Wednesdays #102
· 2:Wedcomic Wednesdays #103
· 3:Patrick Houdek Photo Page, Pegboy
· 4:Louis Jacinto Photo Page, The Bags

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

Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83
Big Crux, Ponchito LP

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.

Imprint Indie Printing

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

Self-titled: 7” EP
My L.A.-centric self is hearing shades of Manson Youth, Artistic Decline, and maybe some Adolescents buried in this, but its core is some primo fuggin’ minor-chord hardcore that isn’t all screamy-howly and hyper-fast, but rather equal parts drone, thud, and aggression. If the Regulations float yer boat, you’re gonna love this.  –Jimmy Alvarado (Signaler Fran Ovan)

Split: 7”
The latest from All In Vinyl’s split series where they take an American band and pair them with a British band. As per usual, I’m familiar with the American band, but not so much the British one. I assume you, dear reader, are familiar with Dan Padilla and their anthemic, gruff take on pop punk. It’s great to hear that this band is still going strong. When their first record came out, I thought we were going to get another Tiltwheel: great music, but with releases few and far between. This is clearly not the case. Releasing what feels like multiple records every year, the quality has yet to degrade for these guys. Down And Outs provide the B-side, with a sound close to the street punk of BYO Records heyday. They have multiple vocalists, which is always a plus for me, and they can all sing well, which makes it even better. Definitely a band that requires closer inspection. Grade: A.  –Bryan Static (All in Vinyl)

White People Problems: LP
This band, and this album, is a fucking glorious, disgusting mess. And it’s called White People Problems! Don’t let the cock-and-balls and semen font fool you, these songs are downright sweet, sentimental, and lovelorn. If “I Ain’t Wrong” doesn’t bring a tear to your eye, well, fuck you. Lo-fi, garage-y pop in a Burger Records sort of way. I can’t believe they didn’t draw any penises on the label name. That joke just makes itself.  –Sal Lucci (Resurrection)

No Device: LP
Taiga—Criminal Code guitarist and vocalist—refuses the post-punk and hardcore labels for the band. And I believe that’s coming from a genuine place, but to deny those subgenres’ impact on the band’s sound would be a real loss. What sets Criminal Code apart from the current wave of dark, look-at-all-my-effect-pedals punk is the sheer aggression in Taiga’s vocals. It’s the unholy marriage of post-punk’s ambience and hardcore’s hostility consummated in a Reno basement and birthed in Portland’s Buzz Or Howl Studios. The liner notes claim “attempts fail completely” and I understand what they’re alluding to, but if No Device was an attempt to create a full-length that’s damning (we’re all fucked, and we have a pretty good idea of whose fault it is) yet played with a haunting intensity (holy shit, they’re just a three-piece?!), then I think it’s no doubt a success.  –Daryl Gussin (Deranged)

Dead Man’s Handjob: CD
Highly adept Finnish perverts who sound like a sex-obsessed Cramps ((yes, more so than usual)) ninety percent of the time and make me recall the song “Homo Truck Driving Man” by the Pajama Slave Dancers the other ten ((with the notable exception of the first song, “Buttplug,” which, after much deep thinking, i realized sounded much like “Snobby Disdain” off my first solo record)). In additionally interesting matters, the Nick Knox/Mo Tucker drum style made me come to the conclusion that cymbals are the foreskins of rock’n’roll. You’re welcome. BEST SONG: “Don’t Wanna Come Too Soon.” BEST SONG TITLE: “Shemale?” “Truck Stop Whore?” “Cockteasin’ Chick?” There’s just so many from which to choose! FANTASTIC AMAZING TRIVIA FACT: All the naked ladies playing cards which comprise the brunt of the artwork here have panties Photoshopped in. Booo! –Rev. Norb (Big Money Recordings)

Through the Wires: LP
Dark. Very dark, brooding, slow-burning, bleak, apocalyptic punk. Elements of Tragedy and Amebix combine with melodic (but dark) guitar lines, basslines, and drum parts that really keep things interesting. Well thought out and thoroughly dark lyrics cover all of your dystopian bases, from societal thought control through the media (“A Walking Dream”) to the destruction of earth (“The Portal”). The only sliver of light contained on this black disc is the hope of finding an escape from all the shit that these worldly forces shovel onto you—and fittingly—it’s the title track. This one takes a couple listens for the quality of the songs to shine through, but it’s worth it. Did I mention how dark it is?  –Chad Williams (Skuld / Aborted Society)

Down on the Farm: 12” EP
Dunno how valid this statement is in this modern era of globalized everything, but it used to be, if given enough time, every scene eventually coagulated around a specific sound or thing that made what they did unique from what was coming from other areas—OC had the whole surfy thug-pop dual guitar thing down pat, Minneapolis planted the seeds that would sprout the “alternative nation,” Arizona and Texas both cornered the markets on both the furious and the weird, you get the idea. Australian bands have long been able to distill damned near any style of rock down to its most primal, gooey center and bend, smoosh, and twist it into some very interesting origami patterns—AC/DC, Rose Tattoo, Birthday Party, Scientists, Hard-Ons, and Radio Birdman all played in different ends of the sandbox, but if you listen with surprisingly little effort, you’ll find that the first half of this sentence applies to all of ‘em. As this reissue of their 1985 debut EP shows, Cosmic Psychos kept to tradition by boiling their tunes down to their bare essentials before adding heaps of sludgy tempos, hyper-fuzzed bass and guitars, and simple lyrics about workin’, dames, and such, the results of which are tunes by turns punky, hypnotic to the point of being almost psychedelic, and just all-around fuggin’ heavy. If that description reminds you of some of the output from a certain clutch of bands primarily based in the West Coast, especially the Pacific Northwest, a few years later, suffice to say one need do no more than listen to L7’s “Fuel My Fire” and then listen to the Cosmic Psychos’ “Lost Cause” off of their Go the Hack LP to hear how deep an influence the Psychos had on ‘em. Fine chance to revisit a fine debut, and the band’s apparently still goin’ strong and still strip-mining the same sludgy mountain, so you might wanna do some diggin’ around.  –Jimmy Alvarado (Goner)

Copy & Destroy: 10”
This is the sound of a scene celebrating itself. High-energy, catchy, oddly mature pop punk with a heavy, early SST-ish guitar tone. You expect to hear whoa-oh-ohs, but are pleasantly surprised when you don’t. A collaboration of zine veterans from the U.S., France, and the UK, Copy & Destroy does for zine culture what the Gooningtons did for pop punk as a genre. Inside jokes that make everyone feel “in” take playful stabs at zine clichés: excuses for zines being late, lists of likes and dislikes, click-clacking typewriters. My favorite track is “Up for Trades.” Every punk’s had someone try to swap a token for a work representing weeks of effort, right? Don’t toss this in the riot grrrl bin (though itis straight outta Portland) but its confessional style reminds me of “Musical Fanzine” by Team Dresch. Alex Wrekk’s (of Brainscan) vocals evoke Sheena of Lemuria. This isn’t a serious album by a band trying to innovate, but the warmth it’s suffused with cannot be ignored. I want Copy Scams to tour, because every show would be a party, but I can’t afford those plane tickets. The record comes with a fourteen-page zine and a download code, so I’ll have to imagine the fun.  –Claire Palermo (Lunchroom, lunchroomrecords.blogspot.com; and Bus Stop Press, xtramedium@laposte.net, busstoppress.weebly.com)

Self-titled: LP
With a pledge to DIY and a considerable distance from their screamo upbringing, Comadre brings us their swan song—and it’s a doozy. It’s difficult to appreciate the evolution without acknowledging the scrappy sincerity of The Youth and the frantic appeal of Burn Your Bones. But since A Wolf Ticket, Comadre has ventured towards more varied melody, ranging from pop lead guitar to trebly hardcore. Evolution without the loss of authenticity is a colossal task. (Recall all the bands that have forfeited their ties to engaging punk music because of major labels, the pursuit of image, or straight up bad decisions.) Thankfully, this LP is a glowing example. The slickly produced tapestry of bass-driven verses complemented by keys, horns, murmured vocals, and acoustic guitars is equally as hard-hitting as any of their previous outings. The keyboard-driven “Summercide” should be audible mush, but all the elements gel creating a pogo-inducing, hair-whipping jam. Furthermore, “Binge” sounds like The Smiths while retaining Juan’s throat-tearing vocals, “Date Night” oozes spaghetti western vibes, and “The Moon” is a sore throat ballad. With an almost ten year history, this final LP is a fitting bookend; it’s uncompromising like every great punk record. A contemporary classic.  –Sean Arenas (Vitriol)

Split: 7”
The Capitalist Kids are one of Austin’s most consistent pop punk bands. They have been dishing out their Mr. T Experience-influenced jams for years, using the same formula of witty, sometimes mildly political melodic punk tunes to get their message across, and they do it really well. Their side of this split features three songs, including a cover of a Bee Gees song. The Tight Bros side of this record is very heavily Marked Men influenced—almost too much so. Their three songs are good in that Dirtnap Records kind of way, but they just come off as being a little too derivative. While the Capitalist Kids side perfectly shows an influence without imitating it, the Tight Bros could learn a thing or two from them.  –Mark Twistworthy (Toxic Pop)

Split: 7”
Canadian Rifle take steady three-chord tunes, soak them in cement, wrap them in barbed wire, and downshift them an octave on this most recent release, continuing further down the darker path they moved toward with 2010’s Facts EP. As of late, there are more mean, mean hooks rumbling here. Sonically, “Fire” and “Born” are walled-in with thick, glugging bass and gnarled-out call-and-response guitars to the point that the singing emerges almost as secondary to the drum and guitar. The vocals are melodic roars and shouts that layer up the beauty built by the instrumentation. I likedFacts, but this shit is superb. If Canadian Rifle is the weight of solid, overcast skies, Zapiain, fine punks of Yorkshire, play comparatively brighter melodic punk, although here the difference is illuminative and doesn’t diminish from the split as a whole. The bands complement each other. The unrushed hooks of “You Always Said It Was” and “Scapegoat” feature a band that’s happy to swish between palm-muted charges and rollicking open song. They’ve drawn numerous comparisons to Blue Medic and even a less rhythmically rigid Bad Religion, but I’m hearing a best-of amalgamation of ‘90s punk groups that, in the case of Zapiain, has distinguished itself by taking time. In one hopeful lament, the singer notes that, “I know you’ve heard this song / A million times before” and if that’s true, it sounds good, possibly better than before. Dig it. –Jim Joyce (All In Vinyl)

Spirit of the City: CD
Fuck yes! San Francisco punk rock! I love my city and we’ve got a lot of great bands. But sometimes it feels like everyone’s trying too hard to do something different and quite often we’re left with really very few bands like this: straight up, no frills, balls-out punk rock. Sure, there’s some streetpunk and hardcore in there, but where do you think those subgenres came from anyway? Solid hooks, solid lyrics, no bonehead shit, no cheese, and plenty to put your fist in the air and sing along to. SYFATB!  –Chad Williams (Self-released, bumcitysaints.bandcamp.com)

Magic Hour: LP
The cover of this album has a cartoon of a duck-billed, eyeball monster wearing a space suit in the middle of a drought-ridden wasteland. It looks like a movie from the iconic 1960s-70s low-budget director, Roger Corman. The band has an equally retro-fabulous sound, while still sounding completely fresh. I love this music. I would cut off three fingers to be able to write surfy, reverb-heavy guitar riffs like there are here. Maybe four fingers. I can’t say enough about how fun this music is. A blurb on the sleeve of this LP might sum up the sentiment and feel of the songs best: “Get down with the right sound. Burn your false idols. Quick! It’s Magic Hour.”  –John Mule (Certified PR)

Vultures Rule O.K.!: 7”
The most exciting new American oi 7” I’ve heard in ages, Vultures Rule O.K.! has me bopping around my apartment like a maniac. Hailing from Chicago, these guys sound a lot like Patriot, but with harsher vocals, similar to the legendary band Squiggy. The lyrics are of the most basic type, covering the standard street themes of unity, urban pride, and a willingness to fight. The barebones brilliance of Brickwall Vultures exemplifies all that is great in skinhead music. Catchier than chlamydia in Cleveland, Brickwall Vultures truly rules.  –Art Ettinger (Sexy Baby)

Runnin’ Scared: LP
Breakdown were one of those bands whose influence has always been heard more than their actual music, due mostly in part to the fact that their early output consisted of two demo tapes and four tracks total on the late ‘80s comps NYHC: The Way It Is and Where the Wild Things Are. Breakdown’s talent was overshadowed by other bands in the scene that were able to put out records in the late ‘80s (Warzone, Gorilla Biscuits, Agnostic Front, etc), but that doesn’t make them a bad band. The younger generation might remember singer Jeff Perlin from his time in Slumlords, but his younger years (these recordings specifically) were spent contemplating more serious issues and making music a lot more stripped down. These songs are sourced from the band’s second demo tape, recorded in 1987, as well as a live set from WNYU in ‘89 that sounds better than expected. There are two more tracks from an unreleased session in ‘87 that are just alternate versions of other tracks and I didn’t really feel are needed, but I’m certainly not going to complain about extra stuff being thrown on top of what you’re already getting here. I’ve always had an affinity for the NYHC recordings that were a little rough around the edges (like Warzone’s Lower East Side 7”, the Life’s Blood 7”), and this record falls nicely into that category. This record works because not only is it a document of something falling into the obscure side of a certain scene for collectors and completists, but the songs are good enough in their own right to warrant getting a proper release.  –Ian Wise (Painkiller)

Música Sin La Intervención De Cristo: LP
Boom Boom Kid are one of the few punk bands to take musical risks anymore. Even more impressive is that the risks they take turn out successfully. Primarily pop punk, but they sometimes go into grind, hardcore punk, then folk style songs like “Como Empezar...El Despues,” or really super pop that hearkens back to mid-1970s AM radio fare, like “I Do.” Then there’s a song like “Pon To Corazon El La Musica” that brings to mind late 1980s / early ‘90s Dischord bands like Fugazi and Jawbox. If the syrupy sweet “Si Esas Paredes Hablaran... Maria Ojos Negros No Mas” doesn’t stick in your skull and put a smile on your face, then you might be dead. Or just an asshole. The mood is light, the songs are catchy as hell, and played with nothing but heart. This LP is a collection of songs from all their previous releases. Obviously, a good jumping off point. I know I’m going to start searching out their back catalog. This stuff is great, and will get many repeated listens.  –Matt Average (SPHC, sphc.bigcartel.com)

Johnny: 7”
If you miss The Epoxies like crazy (like some of us do), the song “Johnny” is going to make you a very, very happy listener. (Searching the interweb and my own facial recognition program, while not official, I’ll posit that at least one member was in that band.) Female-fronted pop punk fueled with swirling keyboards and a driving beat. “Alien Eyes” delivers a similar track with more ‘80s-styled guitar histrionics and “Don’t Wanna” winds it up with a whirlwind pop tantrum. “Destroy the Heart” left me a little cold with its more mid-tempo ‘50s approach, but you won’t be disappointed if you spend a few of those blood donation dollars on The Bloodtypes.  –Matt Seward (Bomb Pop)

Tree & Bird: 7”
This formerly of L.A. and now residing in Portland two-piece has matched, if not improved on, their previous self-titled 7”. On Tree & Bird’s two tracks, Rachel Lynch riffs around with garage punk chords and shout-sings just under the throat-wrecking level, calling out her connection to the natural world outside of mega-jumbo urban areas. And, yeah, we all love cities (bars, busses!), but cities also have gross plastic bags screaming in the trees and exhaust coating all of your possessions, so between knowing intuitively that cities are kinda gross and hearing the raw sparseness of Blood Buddies songs, lyrics like, “If you’re looking for me / If you’re lost / If you really need me / I’m on a mountaintop” become simultaneously alarming and catchy. In the absence of second guitar or a single bass, all that remains is great songwriting: hooks, sharp edges, and the slight shock that hits you when you hear uninhibited rock for the first time in a long time.  –Jim Joyce (Ghostbot)

Sore Subjects: 7”
RI’s Best Practices return with four tracks of power pop meets garage punk with an edge. It’s a sound the band first developed on their previous The EP LP, which I reviewed in an earlier issue and thoroughly enjoyed. Everything I liked about their previous release is present on Sore Subjects, from the tongue-in-cheek lyrics and song titles, to infectious riffs that get you rocking out even while sitting down. At first I thought the production on this sounded a bit muddier than their previous recording, but when you crank up the volume on the stereo, it makes it feel like the band is there playing in your living room, and I enjoy the pseudo-live feel.  –Paul J. Comeau (Tor Johnson)

Here Comes Trouble: 7” EP
The Bedlam Knives sound like the legendary Los Angeles punk staple X. If you are a moron, allow me to translate: The Bedlam Knives sound fucking rad! Doug Kane (aka Doug Dagger), formerly of Schleprock and The Generators, has a velvet smooth voice for a punk rock singer, but it works here. Bass player, Chalon Harris, plays the worthy Exene to Doug’s John Doe, providing companion vocals with a wide range, from sugar sweet to switchblade slashing. The rest of the band kicks ass here too: a more than solid rhythm section and dual guitars playing riffs that would do any red-blooded American or two-wheeling, leather-clad rebel proud. Rock and fucking roll!  –John Mule (Dr. Strange)

Bras: CD
Bad sports bras are a funny concept. All sports bras are bad in my opinion; it’s a very unflattering look that’s all business. I’ve seen these guys’ name around for a while (this is their third LP) but hadn’t come around to listening to them until I received this CD. Bras was produced by Mark Ryan and Jeff Burke from the Marked Men and if you’re into them at all, you’ll love this record. This is a great punk rock record with a poppy, upbeat sound. The songs are catchy and fun with no bullshit messages or preachy opinions, just a good time. There’s a little bit of everything on here from power pop to ‘70s punk. If you like the ‘70s CBGB’s sound, old Posh Boys bands, and Dirtnap bands you’ll love this record.  –Ryan Nichols (Dirtnap)

Split: LP
Autonomy: Great blend of politically astute sentiment and post-punk attack. The songs gel and bounce with bubbling bass runs and hypnotic guitar lines one minute, then things get nice and dissonant the next, closing with a righteous cover of the Wipers’ “Doom Town.” Standing here slack jawed and amazed as I flip this puppy over.... Doom Town: Thought Autonomy might have these kids on the ropes, but they more than handle their business here, with that dark-tinged thud punk sound they’ve honed so well on previous efforts still serving ‘em well. Gloomy but not goth, meaty but not meathead, and saturated with sophistication in its wiggly bass lines and chord runs. The final tally: A solid draw, making this a faboo split.  –Jimmy Alvarado (Trend Is Dead)

Don’t Look Back in Anger: CD
Sorry to the boys in the band, but I can’t listen to Atlas Shrugged without looking back in anger. Note: The following review has more to do with the reviewer than the reviewee. I remember when bands like this were everywhere in the Inland Empire, where I grew up. My friends would ask, “Hey, wanna go to a show tonight?” And I would say, “Cool, who’s playing?” And they would say, “[All male band with running shoes and basketball jerseys that screams a lot about friendship.]” Not wanting to be left at home alone on a Friday night, I would go, with my head down, looking out of place with my U.S. Bombs or Clash T-shirt on. No one at the show would talk to me, and I would probably get punched in the head while someone with ironed hair and a lip ring was “dancing.” That guy would like Atlas Shrugged. The singer sounds like a Beastie Boy. Now that my review is over, I am going to watch Beastie Boys videos on YouTube and try to get over this re-living of my late teens. Fuck the Inland Empire.  –John Mule (Trip Machine Laboratories)

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)

“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)

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

| 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


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.

© 2001-2011 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.