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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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EPOXIES:
Self-titled: CD
I was quite excited when I saw the cover of this CD. Cool band photo, black and white, with a very new wave/Rezillos look to it. And the sound is of the keyboard/new wave punk persuasion. More Rezillos fashion influence than music influence. Girl and boy vocals. And they have cool, Rezillos-esque names like Roxy Epoxy, Viz Spectrum, and Kid Polymer! (Question: How many times can I write “Rezillos” in a non-Rezillos review? Answer: A lot!) Pretty decent! I just wish the songs were more catchy. If that happens, I could imagine their next album being great! If this were a cereal, it’d be Kix. Good! –Maddy (Dirtnap)


END ON END/LIFE IN PICTURES:
: Split 7" EP
Great packaging. Silk-screened sleeve, hand-stamped vinyl, translucent paper insert, limited to 300. End on End: Completely took me by surprise when I saw them live. Andy's a frontman who knows how to work a crowd, go aggro, but never hit anyone who didn't want to get hit. I was less than impressed by their Headline single, but they've learned their lessons well. As they are live, the two songs here are punchy, dynamic, sweaty, and most importantly, don't sound like a Rites of Spring reunion tour. What's immediately obvious on this recording is how tightly wound yet well composed the songs are. They're both gruff and huffy, yet expansive – somewhere between hardcore and emo, but not in a pussy or shitty way. Life in Pictures: Crank up the screamo dial, tap into some metal licks, slow it down, get all moist, drop a tear on their shoes, then go back to yelling. Tough/tender guy stuff that's a harder sell for me. –Todd Taylor (Coldbringer)


DWARVES:
How to Make Friends and Influence People: CD
It’s the raucously demented Dwarves, so you can assuredly expect some of the most psychotic, decadent, and perverse rock’n’roll noise ever put to tape! This is a killer-crazed collection of re-recorded Dwarves classics (includin’ “Let’s Fuck,” “Anybody Out There?” [my personal all-time fave!], “Saturday Night," “Detention Girl," “Dairy Queen," and several others) and a furiously smokin’ smattering of new material, as well. In my humbly inebriated opinion, it all frenetically sounds like the Ramones maniacally payin’ homage to the Dwarves while jubilantly doin’ the cretin hop in the basement of a lunatic asylum. Hell yeh, it’s that damn spastic, upbeat, and savagely intense! Rock’n’roll just doesn’t get any more violent, destructive, and criminally insane than this. –Guest Contributor (Reptilian)


DUANE PETERS AND THE HUNNS:
Wayward Bantams: CD
The mighty, outspoken, tattooed one is back with a vengeance in all of his disheveled, snaggle-toothed glory! On this here skull-pummeling platter of raging punkrock fury, Duane Peters and his maniacal band of thuggish noise-mongers ballistically blaze through a flesh-scorchin’ swirl of sonic unruliness that quickly crumbled the infrastructure of my house and completely leveled it to the ground! I shit you not, these ferociously spectacular songs slash straight for the jugular like a freshly sharpened straight-edged razor being violently wielded by a deranged, psychopathic madman. The lyrics are humorously sentimental (“Dog Bowl Love”), descriptively disturbing (“Canker Sore of Greenwich St.”), venomously vitriolic (“War of the Worlds”… a well-deserved Duane-style tirade against a certain despicable bin Laden ass-wart!), heartfelt and harrowing (“Jet 757”… a horrific, realistic account of the hijacked jet that crashed in the rural Pennsylvania countryside on September 11th), and uncannily observant of the miserable circumstances facing the unfortunate and desperate rejects of our so-called civilized society (“Hobo Jungle” and “Dead Man Talking”). My personal auditory favorites contained herein include “Surf Sacrifice," “Wayward Bantams," and “Forever After” (a hilarious California-style Sid-and-Nancy story on which dastardly Duane loudly duets with Texas Terri!). By far, this is one of the most energetically inspired discs that’s yet laid waste to my eardrums, and it’s hands-down some of the liveliest working-class music ever conceived. –Roger Moser, Jr. –Guest Contributor (Disaster)


DROPSKOTS, THE:
Self-titled: CD
By-the-numbers modern poppy hardcore. They’re fast, tight and have all the requisite parts to ensure they’ll become huge radio stars, but I still lost interest by the third song. –Jimmy Alvarado (King Bee)


DOC HOPPER/EL SECONDHAND:
Please Send Help: CD
Doc Hopper: maybe I’m feelin’ a little soft or somethin’, but their tracks weren’t as painful as I expected them to be. Their sole original here, “Meister,” was a pretty nice melding of All-lite drive and vaguely Hüsker structure, and their cover of “Kids Don’t Follow” was good, if not as intense as the original. The cover of Black Flag sucked, but that’s just ’cause the song itself sucked to begin with. “South of Heaven” was finely executed, but still pales to the original. Secondhand: They didn’t leave as positive an impression. Their original was not as memorable and their covers, although perfectly executed (especially the Slayer tracks) lacked any sense of immediacy and, ultimately rang hollow. Maybe next time. –Jimmy Alvarado (Attention Deficit Disorder)


DMZ:
Live at the Rat: CD
Monoman Jeff Connelly is a demi-god. He’s still rocking after all these years. Time, drugs, and plain human drama has not been able to stop this man. If you went to the last Shakedown, you’d know exactly what I’m getting at. DMZ is still alive and I hope they get a chance to play around more before they really call it an end. OK, in case you have no idea what I’m talking about, those righteous people at Bomp Records want you to hear and fully understand the power of DMZ. Boston in the mid '70s had a microcosm of bands who played local bars/ restaurants such as Cantone’s and The Rat. DMZ played in front of enthusiastic crowds and although they did not contain any record executives yet, they were making history and garnering status as a band whose influences would touch other musicians through the halls of time. At the time, no one would have guessed the wiser, according to fellow Bostonian, Real Kid John Felice who recanted those days. Well, DMZ eventually did get signed and released a terrific rock album, but alas, the world was just not ready to rock when they had the insolent luxury of Walter Murphy’s Discosymphonic and DMZ fizzled away. Not for long though, because deep in the hearts of rock fans everywhere, they still held a torch for these punk rock titans. They passed the flames to younger generations who easily become rabid DMZ-philes. DMZ is a mixture of the best sixties garage punk, soul, and basic American rock’n’roll. They covered the best fucking songs and gave them their own signature sound. I don’t have to tell you to get this album because you probably have it by now. If you don’t, what the fuck are you waiting for? Now if only people would pay attention to The Customs, too. –Namella J. Kim (Bomp!)


DISTILLERS, THE:
Sing Sing Death House: CD
The Distillers have once again put out a CD I can't stop listening to. This one is a bit harder than their first (which is still on high rotation here). This is kick-ass female fronted punk rock. It's catchy but not poppy. Some of my friends have listened to them and were surprised when I told them a girl was singing. She has a great voice. For those unaware, the singer is Brody Armstrong, Tim from Rancid’s wife. They give Rancid (when at their best) a run for their money. She also happens to be one of the hottest girls in punk. I felt like a teenager in heat when I saw them live. I think I have a crush. Anyways, they actually sound great too. Do yourself a favor and listen to this band. (aside: for Brody fans, you can find a poster of her in the new Hellcat comp.) Damn, I feel like I should be reading Teen Beat. Fuck. –Toby Tober (Hellcat)


DISCOUNT:
Singles #1: CD
For a while, when I was living in Florida, it seemed like Discount played at every show I went to. It wasn’t that I was hunting them down, necessarily. They were just the only good, active band in the area at the time. They always tipped the scales for me. I’d be indecisive about checking out a show, but see that Discount was on the bill and figure, well, at least Discount will be good. Now it’s hard for me to decide if they were really that good of a band, or if their music just brings back good memories. I’ve heard two basic criticisms of them: that Alison sometimes sounds like she’s nagging when she sings, and that they don’t have enough of a separation between music and vocals. I can understand the criticism. Neither of these things bother me. I like the way Alison sings. I don’t feel nagged. And, it’s true that the songs might be better if there were more instrumental parts. The music is powerful. It builds and releases a lot of tension. At times, I wish the focus was more on that music and less on the singing along. But, really, all that means is that I want more. And is wanting more really a criticism, anyway? So this is a collection of their early singles, stuff they released in ’95 and ’96. They definitely grew a lot as a band after ’96, and they got a lot better on their later albums. Still, their early stuff has a sincerity and energy to it that I really enjoy. I’m glad they re-released all of these songs. –Sean Carswell (New American Dream)


DISCONTENT:
Shot Down: CDEP
A high water mark was made with Discontent's Who Killed Vinyl 7" a couple years back. It is, bar none, of the of finest examples of true-grit working class punk the United States has ever made. Shit you not. The six songs on Shot Down follow suit. They doesn’t let up and kick you in the ass so hard right off the bat that you'll be puking up the laces later in the week. What's impressive is how hard they sound without being explicitly macho, and without the slightest hint of metal. Conviction, perhaps? Because they're taking elements that seem to be at the disposal of almost any band, the power comes from titty twisting them until everything's on the edge of breaking: the strings, the drum heads, the stereo, your ears. Totally worth your time. –Todd Taylor (Hostage)


DILLINGER FOUR:
Situationist Comedy: CD
I can’t fucking believe how good this album is. I know you read a zine like Razorcake and think, man, there’s so many good albums out there, so many good bands, but are there any essential albums? Any albums that I just have to have? The answer is yes. You have to have this album. Imagine walking through the snow on a wet, windy day and no amount of bundling up can keep the cold out. The cold just seems like it’s going right through you. Right into your bones. Now, imaging that cold is music, and it’s a good thing. That’s what listening to Situationist Comedy is like. I wasn’t sure how much I’d like it. Sure, I’m a huge D4 fan. I love their first full-length, Midwestern Songs of the Americas. I still listen to it a lot. When I first got it, I had to pace myself. I figured, if I listen to this album every time I want to listen to it, I’ll get sick of it. I’ll ruin the album for myself. So I controlled myself, and that album has always been close to a CD player of mine since it came out in 1998. D4 released This Shit Is Genius a year later. And that shit was genius. I had to pace myself again. But I also have to admit that, once I got used to hearing This Shit, I started reaching for Midwestern Songs more often. It was still my favorite. Then, D4 put out Versus God in 2000, and, if you ask me, they won. It was another amazing album. But, again, after I got used to hearing Versus God, Midwestern Songs took back the lead as my favorite D4 album. Shortly before Situationist Comedy came out, I listened to Midwestern Songs and wondered if D4 could possibly top that album. Now, I think they may have topped it. Situationist Comedy takes all the elements that make D4 a great band: the infusion of four musicians going nuts but keeping everything together, the ability to seamlessly and perpetually fuck with the tempo of a song, and the perfect balance of Eric’s poppy vocals, Billy’s gruff hardcore vocals, and Paddy’s is-he-really-singing-in-a-punk-band-like-that? Irish tenor. Beyond that, they seem to be growing up as a band. They play together so well. It’s like every note, every riff, every symbol crash is intricately woven to keep the song from unraveling. There’s a constant tension and release in every song. And above it all are some fucking awesome lyrics. After listening to the album about a dozen times, I got sick of trying to sing along with words I didn’t know, so I sat down with the lyric sheet and read along with the songs. I realized that these lyrics are gonna be quoted in nearly every fanzine in the US for the next two or three years. These guys keep tackling their common religious and political themes, but this album adds one more wrinkle – the songs about how the forty-hour-week, work-until-you-retire, identify-yourself-by-your-job mindset of our society is sucking out our soul. And it all comes together at the end in what is probably the most powerful D4 song yet, “New Punk Fashions for the Spring Formal,” driving forward to the last line, “Where’s the do or die? It’s staring you in the eye.” Then the album ends and I get to my only complaint about this CD: I don’t know what to do with myself when it’s over. –Sean Carswell (Fat)


DIRTY SWEETS, THE:
Bubblegum Damaged : CD
Rip Off Records seems to love trashy rock’n’roll that sounds like it’s tearing up your speakers, no matter how good your speakers are or how loud the music is. The Dirty Sweets fit right in. They have a blown-out garage sound that reminds me of the Motards or the Rip Offs themselves, but when you factor in The Dirty Sweets’ female vocalist, with all her snottiness and attitude, and it’s hard not to compare them to Loli and the Chones. So this album and this sound is nothing new or groundbreaking, but it’s fun as hell and definitely worth a listen. –Sean Carswell (Rip Off)


DHARMAKAYA:
TN 11/20/01 – Live Bootleg #1 and The End 01/12/02 – Live Bootleg #2: CD-R
Damn, these native sons of Nashville energetically churn-out new auditory releases as often as I giddily cut loose with a rapid-fire succession of volcanically disruptive farts! I’ve now received a grand total of four different Dharmakaya discs during the past ten months, and my ears are still as receptive and enthused as ever regarding the garagey alt-rock liveliness of this Tennessee combo. Even though the sound quality is questionable (muddy, murky, and muffled… these are live “bootleg” recordings, after all!), the band’s genuine devotion to their musical craft is as blatantly obvious as a two-dollar whore’s crack habit! For the record, I recommend the second CD more than the first. The mix is clearer and more evenly toned, plus the guitars are delightfully drenched in a colorful, thick coating of fuzz effects. Either way, Dharmakaya ecstatically perform for the audience as if they’re takin’ ‘em for a ride on a rocket-propelled roller coaster through a booze-soaked sinner’s theme park. So if ya like spirited barroom rock’n’roll that’s perfectly at home in an out-of-control atmosphere of sloppy-drunk rowdiness, then get your grubby lil’ mitts on these here two discs, and let the good times roll where they may… –Roger Moser, Jr. –Guest Contributor (Spat!)


DEATH RAY DAVIES, THE:
Without a Trace: 7”
The A-side is a nice piece of jangly, slightly gloomy college pop. The B-side, though, sucks pretty hard. –Jimmy Alvarado (Has Anyone Ever Told You)


DEAD INSIDE:
No. 4: CD
Something about this reminds me of B'last, but not in a dated way – sounds plenty modern. Insistent skin paddling vies for the lead spot with the chunky guitar. I've tried to cut down on my use of the word "emo," but let's just say the lyrics are of a decidedly personal nature. I'll let it slide this time. –Cuss Baxter (Firefly Recordings)


DEAD ENDS, THE:
Self-titled: CD
These Aussie punks play songs reminiscent of the Ramones – End of the Century Phil Spector experiment, only louder and faster, which is another way of saying they sound just like vintage Queers. Fun, fast, friendly, and forgettable. –jim (Rabbit)


DAYGLO ABORTIONS:
Feed Us a Fetus: CD
I have never heard this band's music before but I know they have been around a while. They have an classic punk sound out of the '80s. Reminds me of early Black Flag mixed with some early Guttermouth. Early as in when those bands were good. The only thing wrong with this CD is that while listening to it, you can pick out a shitload of obvious guitar riffs stolen from many popular rock and metal songs. It's very peculiar. Is this their usual schtick? Someone please let me know. If not, I would definitely by more of their music. –Toby Tober (Beer City)


CRISPUS ATTUCKS/DE NADA:
Split: 7"
This was supposed to be a Crispus Attucks/Voorhees split but the Voorhees had to back out. De Nada who replaces them are a short-lived band from the DC outreachs that played around ‘97 to 2000. Crispus Attucks gives you four hardcore numbers to sink your teeth into. If you haven’t heard anything by them before, you need to. They are essentially, in my opinion, one of today’s bands that is keeping the hardcore flame alive. Vocals are throaty but screamed. The music brings you up and down with their mixture of fast and mid-tempo. De Nada, on the other hand, is grind/thrash/metal/noise. Distraught is the mood I feel here but they do have a sense of humor. Their side is all over the place. Cool old skateboard photos of Mark Gonzalez and Chris Miller on the cover. –Donofthedead (Vendetta)


CRIPPLERS, THE:
One More for the Bad Guys: CD
10.0pt;="" mso-bidi-font-size:="" times="" style="FONT-SIZE: 12pt; COLOR: black; FONT-FAMILY: ">Fun, fast, and loud rock’n’roll with a southern tinge. Very cool shit here. Their adrenaline level and attitude sets them apart from many other bands in the same genre. They do not disappoint. –Toby Tober (Dionysus)


COOKIE:
Sweat-Soaked and Satisfied: CD
This was a surprise ’cause I half-expected it to suck. Some dang tasty, occasionally country twinged, rock/punk, very heavy on the rock, that falls somewhere between Texas Terri and Deep Purple, which explains the cover of “Highway Star.” Though this band is dancing on a very thin wire where any misstep could send them tumbling into an abyss rapidly filling with some mighty shitty bands, they manage to pull it all off and come up with one mighty nice piece of work. Recommended if this type of stuff is your bag. –Jimmy Alvarado (Infect)


CONFLICT:
Now You’ve Put Your Foot in It: CDEP
Now here is a band that I used to love back in the mid '80s. I think I have almost every release they put out up to the point of them breaking up. I got to see one of only three shows that they played in 1984 in the USA and hung out with them most of the day they were in LA. I heard many rumors that the singer, Colin, became a soccer hooligan and rave promoter after the band disbanded. I saw them last year perform on their second US tour and came away with mixed feelings as I thought about it more. I know their ideology was important to me back in the day. But seeing them was just not the same as seeing them in their heyday and hanging out with them. They seemed like they were going through the motions and did not feel genuine. The same goes here. It does not compare with their great EPs and LPs of the past, like Increase the Pressure. The two studio songs here follow the formula of songs past but that does not translate to the same energy. Not that it’s not a good listen but it just does not compare to their classics. The two live tracks are throwaways. It’s their attempt at playing reggae. I found it boring. Conflict fans new and old will find it worth the purchase though for the studio tracks. Before I got this copy, I received an email newsletter from Conflict saying that they want people to boycott and not purchase the licensed releases from Go Kart. The reasons they cited were bad communication with the label and not following their instructions regarding artwork on this release, which led to their removal of their licenses. Since it’s out there, you decide who you want to support. You can either buy this from Conflict’s longtime label Motorhate (.conflict.org.uk/">http://www.conflict.org.uk/<www.conflict.org.uk>.conflict.org.uk><www.conflict.org.uk>.conflict.org.uk><www.conflict.org.uk>.conflict.org.uk>) or domestically through Go Kart. You have a right to choose! –Donofthedead (Go Kart)


CLOCKED IN:
Tied to the Mast: CD
This is fast, furious, and hard-hittin’ punkrock unruliness with a slight bit of a crunchy metal edge to it (think a thrashin’ Hot Water Music crossed with the Rollins Band on meth steroids). It’s packed to the gills with such frenetic raging fury that my knees uncontrollably knocked together, my teeth frightfully chattered like a speed-addled skeleton, and the hair on the back of my neck stood straight on end after just one listen. Then I had the sudden compelling urge to madly leap around the room and repeatedly smash my head into the walls while the brutally blistering sounds of Clocked In noisily blared outta my stereo speakers over and over and over again. Even though I’m now bloodied, battered, and bruised beyond recognition, I just can’t get enough of this ferociously spectacular sonic slaughterhouse. I’ll see you in the pit, kiddies. –Roger Moser, Jr. –Guest Contributor (Radical)


CLITCOPS, THE:
The Harder They Cum: CD
This is angry, vile, vulgar, and venomous rock’n’roll thunder-roar from a sick, twisted, and seedy skull-pummeling perspective! It’s wild, primitive, primal, and raging auditory deviance loudly overloaded with full-throttle bowery-punk sonic self-abuse! Damn straight, these sadistically blistering songs are a berserk fitful whirlwind of sexually demented musical mayhem that fractured my skull, imploded my internal organs, singed my flesh, and curdled my blood. I will never piss a straight line again. I’ll no longer sugar-coat thick wads of snot before thunkin’ it directly from my alcohol-worn esophagus into the aghast, wide-open eyes of authority. I’ll never, ever aspire to be anything more than a disastrously drunk, sexually perverse, swaggerin’-proud, standin’-tall sonuvabitch, thanks to the soul-stabbin’, gut-stompin’ sounds of this decadently divine disc! Yes, it’s inherently obvious: The ClitCops have sonically possessed my soul. –Roger Moser, Jr. –Guest Contributor (Intensive Scare)


CLASS ASSASSINS, THE:
No Justice… No Peace: 7”
This is European-style streetpunk with a frenetic, melodic edge. It’s a catchy and captivating foot-stompin’ aural romp that includes a rousing upbeat original (“No Justice…”) and an up-tempo punk rock cover of “One Tin Soldier” (the theme song from the classic hippy flick, “Billy Jack”). Indeed, this is a sonically riveting 7" throughout both sides, and I feel wholeheartedly compelled to fervently recommend it to you all. –Roger Moser, Jr. –Guest Contributor (Insurgence)


CIRIL:
Huntington Cliffs: 7" EP

This starts out mighty fruity, much like the Pennywise piano solo that Jack Grisham did at the end of Full Circle, but I won't complain, due to the fact that both were dedicated to people who committed suicide. There are a lot of familiar Southern California touchstones in Ciril – hints and wisps, not outright thievery. I hear guitar snatches of Shattered Faith (desperate and trebly), Agent Orange (the surfy undertones in "The Grip"), and the youthful damn-it-all-ness of the Adolescents over breaths of Hammond organ. I can totally appreciate it. They're definitely trying to expand a long-revered and emulated sound, but perhaps since they're all longer songs that tend to drag a little in the middle, I don't find myself flat-out floored or totally enthralled. It's definitely fine music, but it's missing a certain cohesion or tightness (musically, not instrumentally) from making me shit myself. Worth watching out for in the future, though.

 

–Todd Taylor (Headline)


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Razorcake Podcast Player



·DIRTY CHINESE THIEVES
·VON ZIPPERS, THE
·GARAGE AND BEAT #1
·SHANNONWRIGHT
·GLEN IRIS
·SORE SUBJECTS
·Razorcake Podcast #86
·PINK LINCOLNS
·DERBY DOLLS / LIBERTY MADNESS


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Department of Cultural AffairsLos Angeles County Arts Commission


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