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:The Backpatches of NYC (Collection 3)
· 2:One Punk’s Guide to Pinball
· 3:Webcomic Wednesdays #180
· 4:#410 with Daryl
· 5:The Backpatches of NYC (Collection 4) by Adel Souto (adelsouto.com)


Subscriptions
Renewal
New Subscriptions
Stickers and Buttons
Gift Subscription


One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91


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

M.O.T.O.:
Single File: CD

Oh, the magical salve of Masters Of The Obvious. At its essence, M.O.T.O. has two basic modes. Ultra catchy, low-fi power pop and ultra catchy children’s songs for adults. Hooks as sneaky and barbed as the Jam’s. Stealth bomb melodies that rival the Beatles. I can’t say if Single File is as essential as the Buzzcocks’ Singles Going Steady, but it’s real fuckin’ close. Think of bubble gum left on a hot sidewalk and your ear as the bottom of a shoe. It’s almost impossible for these songs not to stick, no matter how hard to you try to rub them off. This collection is the ultimate comp tape of M.O.T.O.’s widely scattered bests from tapes, 7”s, imports, and out-of-print gems over the past twenty years. Even if haven’t heard one of these songs before popping this CD in, you’ll be singing “Crystallize My Penis” in the grocery store, or “I’m Infected” when you’re holding up a bank, in no time. It’s not an anorexic collection, either, and totals a beefy twenty-eight tracks. Essential listening.

–todd (Criminal I.Q.)


LARS FREDERIKSEN AND THE BASTARDS:
Viking: CD

If the promise displayed by Lars Frederiksen’s first album was a surprise, then this sophomore release is more shocking for all the wrong reasons. The first record, much like Rancid’s best work, demonstrated an acute understanding of the stresses that working second or third shift carry and making do as a struggling punk. And then this hit. I barely know what to say. We can begin with the liner notes, because the censored pictures of semi-attractive women are the best part of this release. It’s true that a picture says a thousand words and the generic images of women affecting lustful expressions pretty much say it all. This is half-assed punk by numbers with few melodies, few hooks and little insight. It’s all about posturing—Lars doesn’t go anywhere without his switchblade. He’s a tough streetwise punk. He’s had threesomes in… well, pretty much every city he can seem to think of. He’s had sex with hookers. So what? What, in the end, does all this boasting and bragging signify? How does this relate in any way to anything which provides any sort of insight into the human condition, the loneliness and sorrow that most punks are all too intimately familiar with and which Frederiksen captured on his debut? The short answer is that it doesn’t relate at all, that it signifies fuck all and that this has more in common with a bling-bling era hip hop record than it does with punk… except that most rappers talking about their money, bitches, and Cristal can find a hook to save their lives.

–scott (Hellcat)


KNOCKOUT PILLS:
1 + 1= Ate: CD
The first time I heard the Knockout Pills—an unreleased pre-mastered version—I was kinda doubtful. See, I love, love, loved the Weird Lovemakers and when they split up, the lead singer and one of the main song writers went to different corners (a bookstore and SF, to be exact.) Jason “Part of the Problem” Willis, the guitarist, and Gerrard (otherwise known as “Wallaby, Wallaby Dingo”) of the Weird Lovemakers joined up with Travis “the Archie Bunker of Punk Rock” Spillers of Los Federales, and Matt (“the secret brain” of the Resonars). The demo was so-so. I craved the type of musical punishment and reward that the Weird Lovemakers heaped high on my plate. Melodic mania. Rough knuckled, oddly voiced dork rock that kicked ass over throwback, cutout punk. Then out came the first Knockout Pills self-titled record. Through some magic of mastering or re-recording, songs like “Reject Button” leg swept me. I’d stare at the ceiling and sing along in praise that the magical sand and grit of Tucson punk rock was once again on the ascension. With each successive spin of that record, it became apparent that I wasn’t dealing with a band with just a chop or two or a band with a couple of good songs in a cat box of turds. The whole record was chops layered on top of one another, rhythms hidden in the cupboard, melodies in the gutter, choruses flying from the heavens like Lawn Darts to right between my eyes. I’d just have to sit and listen to that album, and it never failed to drop another veil. “Oh, la, la, what a voluptuous motherfucker of sound,” I said. Then 1+1=Ate comes out. Take all of the “you’ve got to listen for ‘em” stealth chops and, somehow, polish ‘em so they’re right there—luminescent gems on first listen, yet deep and dazzling enough to warrant compulsive playing—like you’re listening to something that makes you feel musically richer. They added more power. They added more confidence, and what you’ve got is one of the unabashedly best records to come out of 2004 that won’t be toppled from my top ten list. I don’t even want compare them to other bands. I’ll just say if you like what Razorcake covers as a whole, trust me on this.  –todd (Estrus)


KEVIN K:
New York New York: CD
One of the more talented apostles of the Church of Johnny Thunders gets his very own “best of” collection. If you like your punk heavy on the NY rock circa 1974 side of the fence, you can’t go wrong with this guy.  –jimmy (www.13th-Street.com)


KEVIN K AND THE KOOL KATS:
Addiction: CD
Another collection of post-Thunders New York junkie rock from Kevin K and his cohorts. A little more obsessed with the “old days” in sound and lyric than I’m comfortable with, but I can’t deny that he’s good at what he does. –jimmy (Lollipop)


KEGCHARGE:
Sadistic War Glory: CD
Another Discharge clone band, this one carbon copying their idols’ first few EPs. Great, loud hardcore with zero originality.  –jimmy (Hardcore Holocaust)


KARST:
Vision of Insane Hope: CD
Cookie monster metal with some pretty good lyrics and a surprisingly effective gloomy moodiness. More impressed with ‘em than I thought I would be, which I imagine is tantamount to a grudging recommendation.  –jimmy (Hater Of God)


JULIA SETS:
Yes-Wave: CD
It’s music like this that makes me wish everyone received an inner-city education. That way no one would be able to attend college and develop embarrassing levels of pretentiousness and they’d all be full of angst ‘n’ shit and their songs would have balls instead of whining along in arty abandon.  –jimmy (www.juliasets.com)


JULIA SETS PRESENT:
An Alternative to Extinction: CDEP
It looks like a CDEP until you look at the running time—then it seems more like an album (two songs go on for 37 minutes and 14 seconds). Drawing from influences like Red House Painters (fitting, since Mark Kozelek was a Midwesterner before he lived in the Bay Area) and shoegazers like Slowdive as well as hints of mid-’80s college rock, these five songs are actually quite a pleasant surprise. Instead of being the useless emo shit that I typically get to review, this is an unexpected and well-done throwback to a more innocent time when indie bands merely hoped to get their single played on the local college station and didn’t look much beyond that.  –scott (Julia Sets Present)


JERK APPEAL:
36 Cents b/w New City & I Don’t Think So: 7"
Fair-to-middlin’ early effort by a Montreal band that might wax, wane, mutate or destruct utterly prior to emitting a full-length. The toolbox of the Dropkick Murphys and/or Rancid is, apparently, open and available to them—which is fine—however, in numerous spots on this 45, it seemed to me as if the band were manufacturing their would-be bombastic street anthems out of more or less nothing but non-load-bearing structural elements. Like, you know, where’s the fucking BEEF, jack? Everything can be rocking along mightily one second, and, the next, one gets the distinct impression that nothing dwells beneath the surface of these songs—like a well-crafted piñata that somehow didn’t get packed with anywhere near as many SweeTarts™ as would be right and just. I mean, they have the outer form of the music they wish to play down cold (dig those air-raid-siren Clash guitars on “36 Cents”), but, in other spots, the singer howls “IIIIII DAUUUUNNNNN’T THAAAANNNNNKK SOOOOOOO!!!” in his dorky fake British accent (which, BTW, i have no problem with) like sixty-four (or something) times in a row, like he REALLY thinks he just invented either a.) a cure for cancer, or b.) the best Rock Hook since “NOooooo FUUUUU-CHAH! NOoooo FUUUU-CHAH! NOooooo FUUU-CHAH FO’ YOUUUUUU!!!” ... it’s like, dude, get over yourself—”I Don’t Think So” is NOT a rock masterpiece—so plan your assaults on Planet Earth with this in mind. At this early stage in their career, i am reserving judgment on Jerk Appeal—the one X-Factor on their side being that this band contains an ex-member of the Radicts. The Radicts were one of those bands that even i, as a guy who maybe kinda might occasionally slide into Music-Snob-ism, could appreciate—i mean, you’d hear like the first ten seconds of a song and be like “oh, fuck, i listened to this music when i was sixteen, who needs it?”—but then you’d keep listening and be like, “fuck, these guys know their shit, totally!” The Radicts were probably the best American band, ever (unless we’re counting like Rancid and the Dropkick Murphys), to be able to handle those sort of English street punk clichés and use ‘em and spit ‘em back out as damn fine tunes—i mean, it was just something they could do, perhaps without even thinking about it. I hereby “suggest” that the guy from the Radicts take over the band, and everybody else listen to what the fuck he says. Unless there is some manner of French-English language barrier, in which case let the best Esperanton win! BEST SONG: “36 Cents” BEST SONG TITLE: “I Don’t Think So,” which is not that great of a song title FANTASTIC AMAZING TRIVIA FACT: I already said it: That one guy was in the Radicts. That’s all ya get!  –norb (Sonik’s Chicken Shrimp; <Jerkappeal@hotmail.com>)


SWEET JUSTICE:
Self-titled: CD
If your mind can’t separate one song from another and all you listen to is classic rock stations, then this is what it might sound like. The first track, “Guns of Navarone,” has a strong David Bowie “Space Oddity” feel to it and is the only track I thought was listenable. From there it goes through the obligatory southern rock track, Jesus Christ Superstar, and Kansas. I felt like I was getting thrown all over the place. Me no like. –megan (RealOmind)


SWEET JUSTICE:
Self-titled: CD
A veritable cornucopia of ‘70s rock stylings, and I mean that in the best possible way. You get glam smooshed with swaggering, post-Stones/Zep blues, Cheap Trick pop snuggled up next to pseudo-reggae, with just a dash of Motown pop sprinkled here and there. If there is any justice (sweet or otherwise), “Guns of Navarone” will be a HUGE hit. –jimmy (realOmind)


SUPERCHARGER:
Live at the Covered Wagon: CD
Bad sound quality, super lo-fi, but then again it’s Supercharger, so you expect it. You know you want it. –megan (Rip Off)


SUNDAY MORNING EINSTEINS:
Kangnave: CD
Sweden’s all-star punk band has a release in the states. From what I have heard, this band consists of former members of Svart Sno, Wolfbrigade, and possibly Anti Cimex. Being seasoned veterans, these guys crank out fierce Swedish d-beat with some authority. Thundering bass lines over bottles-broken-against-the-wall drumming. The ever-so-distorted guitar thrashing adds to the crunch. Vocals yelled in the traditional way: aggressive and piercing. What attracts me to international acts is the full-force rage. These guys play with conviction and play songs that we could never comprehend the anger of since we are not from Sweden. If you missed out on their tour here in the states, you really missed out. As incredible as this release is, their live set is just as good or better. –don (Prank)


JAPANDROIDS:
All Lies and Lullaby Death Jams: CDEPs
Thought these guys were gonna be all noisy and overblown with a fair amount of detachment, and it is, but in all the wrong ways. Kinda disappointed, actually. Be careful of what you ask for, I guess. –jimmy (www.myspace.com/japandroids)


JACK OF HEART:
Self-titled: 7"
While listening to the b-side of this record, I found myself doing a really bizarre dance that started with me shrugging my shoulders to the beat and sort of stepping from side to side. Then I kind of marched in place, continuing to shrug my shoulders while swaying slightly from side to side. It’s the sort of one of a kind song that, in a perfect world, would be played on AM radio every day at exactly 3:17 in the morning. Everyone would climb out of bed and play it really loud while dancing weird in the street. –mp (Rob’s House)


JACK OBLIVIAN AND THE CIGARILLOS:
“Drinking Women’s Milk” b/w “15 Beers”: 7"
What I suspect would be the perfect soundtrack to a Jim Jarmusch film (say Stranger than Paradise or Down by Law), both songs are eerie-funny, naked, stripped down to drum and guitar, and charmingly rambling-along. The standout is “Drinkin’ Women’s Milk,” which goes deep into many different scenarios one may have to face while drinking women’s milk—chocolate milk, stale milk, getting babies out of the way, etc.—it’s a much more involved topic than I thought it could be. There’s something effortless about Jack Oblivian—much like Bob Log III. Even though I don’t celebrate every song of his extensive catalog on a daily basis, I don’t ever mind getting into his car and going along for the ride, to hear what’s been rattling around in his brain lately. (Apparently, this was recorded in 2003. And only seventy-eight were made? (Maybe that’s the color or vinyl?) Don’t quite know.) –todd (Ghost Highway Recordings, myspace.com/ghosthiwayrecordings)


IRON CHIC:
Demo Tape ’08: Cassette
Wow, great find. From the name and the cover art I was expecting something totally different. But Iron Chic covers ground musically from fantastically played Methadones style pop punk to urgent Archers of Loaf style anthems, both major favorites of mine. A nice start here by Iron Chic. I’m definitely looking forward to more output from these guys. –Jeff (Dead Broke)


INSTANGD:
Mitt Svar På Ingenting: EP
I must admit, this took a few listens before I started to dig it. It’s definitely a style of music I think is the bee’s knees: raw European hardcore punk that sounds straight from the late seventies, early eighties. Perhaps it’s the lack of any strong hooks that normally grab on the first listen. So after a few listens it began to reveal itself. The playing is as raw as the recording. The guitar sounds like it’s being played with a tin can lid—jagged and unclean. The distortion is perfect. “Vansinne” had a cool guitar line that’s more unique compared to the other five songs. “Instang” has a riff that is eerily similar to Agent Orange’s “Blood Stains.” –Matt Average (Sorry State)


IMPULSE INTERNATIONAL, THE:
“The Real Kid” b/w “The World Hates Me”: 7”
A new 45 from this now postal-service-land-band (I’m taking credit for that). The first A side is more upbeat garage rock’n’roll that will likely get you boogieing down to some extent. The other “A” side (which threw me for a quick loop and cracked me up) sounds more like a mid-tempo Buzzcocks song, or, I’m really tempted to say, a less melancholy Arrivals song. Do I even mean that? I just think this is the best thing I’ve heard of theirs so far. –joe (Deranged)


IMAGINARY ICONS:
Self-titled: 12"EP
Twitchy post punk that reminds me of the early Midwest and U.K. bands of the same genre. The rhythms are bouncy, yet manic, and there is a “something is not quite right” about it all. And I mean that in a good way. Its poppy, yet dark currents move underneath. “New Face of France” is given to bursts of distortion teetering on white noise with confessions that don’t seem quite accepted. “Rosa Luxemburg” shows traces of sixties psych in the guitar, and the overall drone can be hypnotic. “Mirror Panics,” which opens this up, is danceable and a good way to get pulled into the record as a whole. However, “Economics Is Everything” is the primo song here. A little jangley, with a punchy beat. –Matt Average (Daggerman)


IGNORANT, THE:
Loaded Statement: CD
This is an open letter to Diego, the lead singer and ringleader of The Ignorant, a great guy who’ve I’ve eaten chicken wings with on his last two birthdays. Please, blast The Ignorant wide open. We both agree that War Birth is an awesome U.S. Bombs record, as is Youth Brigade’s Sound and Fury. But you’re such a funny guy who can’t keep dumb jobs (you’re not cut out to drive Mini Coopers to get coffee for movie fucks), yet you truly care about retarded kids. I think you’re looking at The Ignorant too narrowly. Not every song needs a chant. You don’t have to sound English. Some songs could be much slower (I’m not talking Poison power ballads, mind you, but some Sam Cooke in the monitor never hurt), some songs could be much faster (okay, your drummer would have had a heart attack and that would have been on your head), but Loaded Statement’s vision is too narrow, coming across as fifteen takes on almost the same streetpunk song. I know, I know, there are some small breaks in the template, but not much. Perhaps another way to look at it would be to ask yourself: “What would Homer do?” No, not Iliad and Odyssey shit, the J.Simpson variety. You’re such a thoughtful, original guy and—I may be wrong—but I think the world’s ready for the first Simpsons-inspired punk band. How about using your humor and unexpectedness as a springboard? I want songs about beer and donuts. I want songs about gloriously bad decisions pulled off with sparkle, bravado, and a shrug. I want the musical equivalent to you going to Tijuana and getting not one, but two hot dogs wrapped in bacon, covered in warm mayonnaise, and its violent exit strategy through your body... Hope we’re still on for beers next Monday. See you soon. –todd (Northwest)


IAMJAPAN:
The First Two Years: Cassette
This is what I always thought would happen if a hardcore band liked The Replacements and Hüsker Dü more than Sick Of It All. The result kind of sounds like if The Ergs started a new band based off the sound of their song “Maybe I’m The New Messiah” and still ended up doing their experimental Erg-like tendencies. While I’m at it, I must state again, that while I love dead media, cassettes suck. When I tried to hit the rewind button on the stereo, I missed by a few centimeters and hit the record button. Because of this, I have lost five seconds of what is the strange paradox that is IAMJAPAN. –Bryan Static (Self-released, www.myspace.com/iamjapan)


HUNCHBACK:
All the 7”s + Comp Stuff: CDR
Dear Hunchback: You are one of my favorite bands. I love that you play music about weird horror movies and finding the inner beauty of things while sounding like a band that was too punk for any Killed By Death compilation to handle. I bought this one night in Chicago, after you played what was an “interesting” set, where you said “We don’t know what we’re going to keep doing as a band.” Even though I even have most of these songs elsewhere, it’s another reminder of how much I love you, be it the retelling of a classic Twilight Zone episode like “Number 12 Looks Just Like You,” or the fact that you manage to literally sound like you recorded back in the ‘80s hardcore days, or just because you really do love the hell out of Neil Young. That is why I ask of you, please, don’t break up. Taking a vacation is fair enough, because you have earned it, but ending it for good will surely break my heart, and I will literally cry. I hope you take this into consideration. Thank you (PS, you still owe me that tape). Sincerely, –joe (Self-released)


HUMMINGBIRD OF DEATH / CHAINSAW TO THE FACE:
Split: 10"
I’m sure there’s some snickering going on over the names of both these bands. Rightfully so. But we’re not here to discuss band names. It’s about the music, maaaaannnn.... Hummingbird Of Death blast out thrash akin to bands 625 would release: blast beats galore, and a guitar that has a weird metal style whilst still playing 1,000 mph. Not bad, but I get the feeling the best is yet to come. Chainsaw To The Face is your standard powerviolence with a heavy influence from Crossed Out and No Comment. Listening to this makes me feel like I’m back in the Bay Area 1991 to 1995, before the bandwagon jumpers came around. Equally fast and heavy. The playing is tight, despite the blinding fast pace they keep. Their strength is when they shift from fast to mid tempo in songs. Gives character amid all the pummeling going on. “Crawl,” “I’ll Bury You,” and “Retardation” are the standouts. Wouldn’t mind hearing more from these guys. –Matt Average (Cowabunga)


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 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974

| 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



·LEMURIA/FRAME
·ROOFIE AND THE NIGHTSTALKER
·SOCIAL DISTORTION
·The Bell Tolls for No One
·GOT MYSELF #4
·DEREK LYN PLASTIC
·AMDI PETERSENS ARME
·HARD-ONS, THE
·PUT-ONS, THE


Black and Red Eye



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.