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· 1:Razorcake #79 Now Available
· 2:Record Reviews in Razorcake #79
· 3:#308 with Kurt Morris
· 4:Record Reviews in Razorcake #79
· 5:Zine Party 2014


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Record Reviews

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KNOW MASSIVE:
Mood Swing Set: CD
With their mellow, trip-hop vibe, they’re a tad reminiscent of Portishead (who they sample on at least one song), and the MC flowing across the top has a smooth delivery that compliments the backing track nicely. While this doesn’t immediately set the barn a-burnin’, I know it’s gonna grow on me pretty darn quick. –Jimmy Alvarado (www.moodswingrecords.com)


KNOCKOUT PILLS, THE:
1 + 1 = Ate: CD
For a long time we Tucson folk were making the KO Pills live up to earlier local superstar bands they are former members of. The Pills must be tired of that, so they made an amazing album to make us forget the oldies. Catchy, jumpy, rad songs you can pogo to or cry in your bedroom over. Lots of snot dripping on the song writing, lots of melody in the rawkness, this is not a young band trying to figure it out but four guys with a lot of music under their belts. The teacher made an album the students can love. –Speedway Randy (Estrus)


JUVENTUD CRASA:
Después de Tanto Tiempo: CD
So far as I can glean, these kids are from Puerto Rico and they belt out some mean punk/hardcore not unlike Argentina’s Dos Minutos, meaning there’s some pop hooks buried underneath all the yelling. Lyrics are in Spanish, but translations are provided for those not hip to that language. This puppy’s gonna get played lots. –Jimmy Alvarado (Southkore)


JUNIUS:
Forcing out the Silence: CDEP
This could have easily been passed up and neglected. Self-described as having influences of the Cure, Placebo, and A Perfect Circle, this EP definitely has all those elements. Take the darkness of the Cure’s best and mix it with the heaviness of A Perfect Circle and moodiness of Placebo. That’s the creation this band has morphed itself into. The songs are intriguing without me losing attention. I feel like I’m swimming in a mind-altering drug hallucination. Their use of feedback is dreamy yet powerful, and it adds emotion. Might not fascinate the masses but this fell into my lap at the right time. –Donofthedead (Radar)


JESU:
Self-Titled: CD
An individual named Justin Broadrick used to play guitar for Napalm Death and Godflesh. He quit those bands and creates music on his own. Produced here are eight songs, none of which clock in at under six minutes. Reminds me a lot of Godflesh but in a slower, more monotonous manner. This CD feels like committing suicide by using a pushpin. It’s going to take a very long time. –Donofthedead (Hydra Head)


JE NE SAIS QUOI, THE:
Secret Language: CDEP
Electroclash music with a fair bit of punk energy (think International Noise Conspiracy with lower production values) that doesn’t really go anywhere interesting. If you really need to hear this, go buy the first DFA comp and listen to the Rapture’s contribution—you’ll hear everything on this disc and how it could be done better. –Puckett (Coalition)


HOT WATER MUSIC:
The New What Next: CD
I once thought that the review I penned of Down By Law’s last album was the toughest I would ever have to write; I tried to recuse myself from the start on that one due to my personal association with the guys in the band but that one flew about as well as a dead seagull. Now this. When I revived my zine after a hiatus of several years, Hot Water Music was the first band that I interviewed. They were one of the bands that made me realize that something existed beyond shitty, third-generation Bad Religion and NOFX ripoffs that wasn’t Crass or Bay Area pop punk. It was raw, complex, heartfelt, sincere—it just flat out fucking killed me. It took me a while to get it—I had to spend some time with Fuel for the Hate Game and Forever and Counting. I had to open my ears a little more, expand my idea of what music might and could be. I can’t even count how many times I’ve listened to them now, how many times I’ve played those songs on the radio in the middle of the night. When A Flight and a Crash rolled around and polarized HWM’s fan base, I got that album too. Even though I could understand why people were pissed about that record, I couldn’t agree with them because I still heard the things in it that made me fall in love with the band—it wasn’t a replica of an earlier album; instead, they pulled off at a rest area, gave some directions about how to get to the next stop on the musical journey and took off without looking back to see who followed. Then Caution dropped and, once again, plugged into a void in my life. I can’t even count how many times I’ve listened to “Trusty Chords” now, but I had it on repeat for something on the order of five weeks. And now it’s past one a.m. and I can’t tell if I simply don’t have any more voids left to fill or if this album is as much of a letdown as I fear it is. Maybe it’s that I’ve matured past the music… but I don’t think that’s true because I fucking hate Michelle Branch and think the Shikari disc in my player is one of the most awesome things I’ve heard this year. Maybe it’s the circumstances I’m in right now—for once, I’m relatively settled. I’m employed, in a good relationship… things are going pretty well for me, so maybe it’s the comparative lack of conflict and struggle… except that can’t be it either because I’m gearing up for a four-year fight and HWM’s old albums are the perfect soundtrack for it. What I’m increasingly left with is that this album isn’t so much of a stylistic advance or musical experimentation as it is a puzzling detour into relatively flat, uninteresting territory—sort of like driving across the Midwest with nothing more than a thermos of coffee and a tape that is only sort of okay to keep you company. Sure, on the surface it seems superficially similar. There are still two guitars, the rhythm section is still one of the best ones in punk, but something is missing. The songs seem slower, more moderately paced; they seem more conventional and restrained. Whereas older albums frequently sounded like the band was pushing to break through some unseen and unperceived barrier that only they could recognize, this album sounds like they took a breather, almost as if these songs were written from a template that the band developed years ago or an equation that returned tracks from the values they entered. Hell, even Scott Sinclair’s artwork looks radically different for this record. Sure, there are some great moments—”Ink and Lead” is as good a love song as they’ve ever written, “Giver” closes out the album in a classic Hot Water Music stop-and-go breakdown mode, and “The End of the Line” is yet another moment of solace for fans who are lonely, feeling out of control, or who need to open up and experience something new… or maybe all of the above. The problem is that these redemptive moments, the handful of soaring, swelling, transcendent guitar lines which make the world seem better, if only for a moment, are dramatically fewer in number this time; while everything that initially drew me to Hot Water Music is still present, it’s muted, subdued and in limited quantities. But hey, we all grow up, right? We all get older. I’ve come to the realization over the years that my affection for and appreciation of some bands will last forever; other bands are more like passengers on the same plane or bus or train—maybe we exchange a few friendly words while we wait to leave, we travel together for a while and maybe realize that other people feel similarly or even the same as we do right now and we feel better for a while. However, no trip lasts forever. Sooner or later, someone has to change direction and while that may mean that we part ways—perhaps only temporarily—it doesn’t mean that we can’t remember and celebrate the good time we had together. –Puckett (Epitaph)


HIPBONE SLIME AND THE KNEE TREMBLERS:
Confidential: 7"
Two songs of stripped down rock’n’roll in the Billy Childish style. This little seven inch boasts some back-up vocals by punk rock’s answer to Nancy Sinatra, Holly Golightly. Veteran of the Milkshakes and the Masonics, Mickey Hampshire, lends his vocals and guitar. And the rest of the Childish cronies conspire to belt out two songs that could make Alan Freed dance in his coffin. –Sean Carswell (Voodoo Rhythm)


HELLSTOMPER:
Fine… Forget It (1994-2004): CD
It’s southern rock that decided, fine, forget it, we suck. Their songs are about touring, alcohol, and being bad good ol’ boys. The rock’n’roll riffs and the country boy redneck style of vocals give meaning to NASCAR races: it just keeps going on and on and it doesn’t change. It’s Joe Dirt meets Puddle of Mudd. Dig a hole and bury it. –Guest Contributor (Steel Cage)


HELLBILLYS:
Blood Trilogy Vol. II: CD
The first thing I thought when the music came out of my speakers was a psychobilly version of H2O. Disagree? Tough. That is my opinion and you can call me a loser until the day I die. Psychobilly is so hit and miss, but this one will be a keeper. The songs have a stronger punk edge than the more traditional stuff that is common on the scene today. Faster is the key here and they sound like they go all out, not like the last Tiger Army release that made me drink more caffeine to stay awake. To go with all that, you get a Pushead cover, too! –Donofthedead (Split Seven)


HEADWOUND:
Ginmill: CD
So-so, straight-ahead, hard-as-nails, shitty-luck punk. Nothing to begrudge them on, it’s just that I can’t pull one thing that makes them distinctive in any way, shape, or form. Includes a passable cover of John Denver’s “Leaving on a Jetplane." –Todd Taylor (Haunted Town)


HATED PRINCIPLES:
MTA: 7"
Hated Principles were an early ‘80s LA punk band. They made their way onto some Mystic comps and released a pretty solid album, but they never really caught on. One of the former members of Hated Principles went on to become Donofthedead, Razorcake record reviewer. So, yeah, full disclosure: this is my buddy Don’s band’s seven inch. I’m always a little hesitant when a friend gives me his band’s record, because, if I don’t like it, I’m put in an uncomfortable situation. Luckily, I really like this seven inch. If I’m not mistaken, it’s two old Hated Principles songs re-recorded, and two newer songs. The songs explore the hardcore territory between Black Flag and Ill Repute, with a little Adolescents thrown in. There’s even a goofy, RKL-type song called “MTA” to wrap this record up. All four of these songs bring me back to a musical era that I love. It feels like a lost gem. I just think they should’ve been the Hated Principals. –Sean Carswell (Gothic Gospel)


HATED PRINCIPLES:
MTA: 7" EP
Hated Principles have been around for awhile (starting in 1982 and they were on the We Got Power #3 comp.), popping up in strange places and at weird times. The last time I saw them, the singer Captain Anarchy was in a wheel chair with a broken leg and they were playing in something of an antiques/junk/collectibles store. The sides of the record are a split personality. The first two songs, “Punk’s Only a Word” and “Cops from Hell,” are straight ahead thrashers, reminiscent at different times, of MDC, Motörhead, and mid period DRI, where there are metally leads, but they’re kept—sorta—in check. The B-side’s “Blind Faith” and “M.T.A.” are death rock with pop overtones. Picture Christian Death lead by Lance Hahn of J Church singing. Both songs are actually quite catchy and pretty. Not a bad 7”. One of the members is Donofthedickies or something like that. –Todd Taylor (Gothic Gospel)


HATED PRINCIPLES:
MTA: 7" EP
A certain Mr. Ofthedead plays bass in this band, and based on what I know of Don’s musical taste, it sounds like the kind of band that he would be in. The first song reminds me of mid-’80s crossover stuff, like Dealing with It by DRI, before crossover became full-blown metal. The second song, “Cops from Hell,” reigns the metal back in a little bit and sounds like Suicidal Tendencies, right down to the subject matter. The third song is completely out of left field and sounds like an awkward late ‘80s Ramones ballad. The fourth song brings it back into Suicidal territory with vocals bordering on falsetto. It’s better than every Suicidal Tendencies album that’s come out in the past twenty years, that’s for sure. –Josh (Gothic Gospel)


GREEN HORNET:
Backlash: 7"
Not to be confused with the Green Hornets, whom i believe were from England, the One True Hornet Of Greenitude first proffer a pounding slab of something-or-another called “High Heel Appeal,” which is not to be confused with “High Heel, Big Deal” (by the Spikes, was it?) which sounds like the kind of song that one hears when one walks into a show while one of the opening bands is playing their last song, and causes said observer to think that the band is not half bad, and perhaps they had erred in not catching more of the set, and this is followed by “Beat ‘em Up,” a keyboard-driven instrumental (with a brief Davie Allan & the Arrows fetish) that sounds like something the Waistcoats would have recorded at 45, but slowed down to 33 (or perhaps generic discotheque music from a 1967 B-movie or TV show), and is not to be confused with Muss ‘em Up Donovan, a pro-police brutality comic book cop from the late ‘30s. Side two starts with “Cheap Move,” another instrumental which is not, at any cost, to be confused with Cheap Trick, who covered the song “California Man” by The Move, and ends with “Teen-Age Trash,” which is not to be confused with “Teenage Treats” by the Wasps and has vocals. Not completely satisfying in and of itself, but potential-laden enough to pique one’s interest in future releases, or am i just confused? BEST SONG: “High Heel Appeal” BEST SONG TITLE: “Cheap Move,” because i like both those bands. FANTASTIC AMAZING TRIVIA FACT: I am not so sure i am cool with there being no green on the record cover. –Rev. Norb (Kuriosa)


GREAT REDNECK HOPE, THE:
Behold the Fuck Thunder: CD
While it’s more of the same as ‘Splosion!, more of the same from this band is simply fucking awesome. Sure, most of these songs are ridiculously short, but extending them would serve no purpose—much as early hardcore songs were extremely direct and frequently clocked in at the one-minute mark, TGRH simply gets the musical idea across and moves to the next song because there isn’t any practical reason to belabor the point. Again, TGRH’s wicked sense of humor is one of the focal points—song titles like “Let’s Fall in Love over AIM so We Can Fuck When We Meet at Cornerstone” do an outstanding job of revealing a skewed worldview while also neatly mocking pretty much everyone (with what seems to be more of a focus on religion this time out). Blistering technical riffs, throat-scorching screams—my girlfriend calls this sort of thing cat-fuck rock for a reason. –Puckett (Thinker Thought)


GBH:
Punk Junkies: CD
Okay, I’ll be the first to admit that this is not as bad as I thought it was eight years ago, when I first heard it and proclaimed it the biggest pile of, uh, aural misery I’d ever heard. I will also be the first to admit that I still don’t think it’s very good. The driving punk that made GBH so special had given way to mediocre heavy metal by this time this came out, and this is rife with fully realized chugga-chugga anthems sure to make the dirtheads pleased as punch but the punk rock punters perpetually perplexed. If you’re new to the GBH thang, stick to their early stuff, from Leather Bristles to City Baby’s Revenge and proceed with extreme caution from that point forward. –Jimmy Alvarado (Captain Oi)


FUE, THE:
The First EP: CDEP
Now having been a reviewer for two zines, it still amazes me what pieces of crap show up that do not fall under our coverage area. Case in point, this CD. We have all seen this before. A unknown band on the bill consisting of guys in their late ‘30s to early ‘40s. Crowd up by the front of the stage consists of family members and friends that look like they haven’t seen the dark side of 10:00 p.m. in over a decade. From the first chord to the last, you are bombarded by an array of boring rock songs that only they seem energized by. A release that would be in the quarter bin, no matter what decade. –Donofthedead (Emerald City)


FUCKED UP:
Live: 12"
When I hear that there is a buzz on a band, a lot of times I look the other way. I can be a very selfish person and want to discover my own music. I have passed up many a good band because of their popularity. But I couldn’t hide from this one. I have bought most of their material for a friend in Finland but never had the inkling to take a sample. The only sample came off their appearance on the Toronto Omnibus comp. I liked what I had heard but could not get past my thick-headed ways and seek out more. By way of my brother, this was thrust upon me and I had to face this band head on. First off, I see that it was a live recording. Bias was building quickly and that was not on a positive note. But what the hey, it was on clear vinyl, one-sided, and was silk-screened on the record. The cover was also screened. The nerdiness inside was engorging from those points alone. The urge to put it away and never play it or to give it a spin was a tough choice. I gave in and pulled it out of its paper protection. First off, this sounds nothing like a live concert recording but a live recording in a studio on an audio eight track. Waves and waves of childhood memories flashed before my eyes. So raw. So pure. I was taken back in time to the birth of what some call hardcore. It was not a battle of who could play the fastest. It was every band playing what they thought was their interpretation of punk. I hate to use this analogy because so many people use this band like throw away toilet paper, but I have to reference this to the energy level of Black Flag. Also, I take elements of bands like Negative Approach, Offenders, and BGK to add to my description of what I hear. To record their stylings in a full-blown studio and dummying it down to sound more punk would have been a disservice. The in-studio live approach in audio is the perfect approach and medium to reproduce punk. To put this out on vinyl makes this even worthier. I have listened to this record more than five times and I have not grown tired. As things come full circle in terms of what comes around, this is a band that plays music that can stand the test of time. –Donofthedead (Schizophrenic)


FUCK YOU UPS:
Black and Black and Black: CD
From the silhouetted, scoped rifles on the cover, to the title, to the band name, to the ominous riot cop with big teeth artwork on the insert, I was expecting anti-authority crust metal, something in line with what Profane Existence puts out. Not even close. Picture early Screeching Weasel: super snotty vocals that you’d swear were Ben’s at times, but they’re more political than mainly dealing with teenage fuckup-isms and fueled by less happy-sounding guitar work and you wouldn’t be too far off. Actually, it’s quite enjoyable, catchy, sneaky, and solid pop punk. –Todd Taylor (File 13)


FRONTKICK:
Underground Stories: CD
I gotta be totally honest—I was wholly prepared to slam this right into the ground. I mean, it looks like some faux Hellcat release, with its punker pinup boy with zipper pants rockin’ a starred stereo on the front cover and black-and-white motif on the back. But then I put it on and, frankly, it’s not bad. Sure, it’s got that post-retro-oi/‘77 feel that seems to be all the rage, but there’s also a little more going on here. Listen closely, and you can almost hear a dash of After the Lights Go Out-era Channel 3 mooshed in there. It don’t ever reach light-speed in tempo like that band could when they were in the mood, but they’ve got at least a comparable amount of catchy hooks, and that makes all the difference. Also included is a faithful cover of the Clash’s “Career Opportunities,” which made me smile, ‘cause their Spanish accents render the word “jobs” into “yobs,” and there’s also a hidden track in Spanish that’s pretty good, too. I’m mightily impressed and this ‘un’s a keeper. –Jimmy Alvarado (Bronco Bullfrog)


FREE VERSE:
Generator: CD
This band has come a long way from their raw two-song CD I received back in ‘02. One song, “Mierda,” is re-recorded here. Back on that release, the band had a sound that reminded me of the early ‘80s death rock scene here in LA. Super Heroines meets 45 Grave mixed with some Rozz Williams/Rikk Agnew period Christian Death. On this new release, these aggressive women from Seattle have honed their chops and recorded in a better studio. The opening track, “No Crime, No Gain,” shows their power right off the bat. It’s an unusual blend of Kittie meets Lush trading metal riffing with some surf chord progressions. Track four, “Lost in Those Hours,” starts off deceivingly happy and bubble gum, but quickly turns ugly with some sludge and ends happy again. What a ride! From beginning to end, these three women play loosely around the formula of playing heavy—which is a good thing—but the other elements they bring to the table keep them from being predictable. –Donofthedead (Buttermilk/Rodent Popsicle)


FREAK ACCIDENT, THE:
Self-Titled: CD
It’s the kind of record you pick up and think, “Wow, this sucks.” Then you listen to it more ‘cause you’re like, “Fuck, I paid umpteen bucks for the piece of shit,” and it grows on you like a fungus that makes you itch until you know all the words. Gabe Rock –Guest Contributor (Alternative Tentacles)


FRANTIC ATTAQUE:
Self-Titled: 7" EP
Trashy punk with hardcore frills here and there, kinda like the Gloryholes crossed with Street Trash, resulting in some rockin’ tunes. –Jimmy Alvarado (www.dieslaughterhausrecords.com)


FRAME:
The President's Neck is Missing: Cassette
The letter that came with it says, “I hope ya’ll review tapes, it seems to be the new fad not to review tapes,” which is funny because didn’t MRR quit reviewing tapes like fifteen years ago? And whether it’s new or old, I wouldn’t call not reviewing tapes a “fad”; call it a “necessity” maybe, on account of most tapes sound like ass, even if the songs themselves are good (which the four ones on here kind of are, in a slightly intricate but poppy punky way). It costs a dollar. –Cuss Baxter (Frame)


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·TWENTY2
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·MEET THE VIRUS
·RED HEX
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