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 #110
· 2:Webcomic Wednesdays #107
· 3:Webcomic Wednesdays #108
· 4:Webcomic Wednesdays #109
· 5:Webcomic Wednesdays #111

New Subscriptions
Stickers and Buttons
Gift Subscription

Razorcake #84
Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83

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

You Can’t Have Slaughter without Laughter: 12” EP
At long fucking last, the final recordings by crossover thrash revivalists Holier Than Thou? have seen the light of day and it only took eight years. How things have changed since the early / mid 2000s: some of HTT?’s peers have found unexpected success and the white high-top Reeboks that come with it. A few of their friends have sadly passed on (Jason and Bomer from RKL, Derrick from Lagwagon, among others whom this record is dedicated to). All that heartbreak and confusion, however, resulted in a cathartic display of open-book-emotions to a soundtrack of their patented crossover hardcore punk onslaught which could have only resulted from a faithful and steady diet of RKL, Ill Repute, Stalag 13, and Technocracy-era Corrosion Of Conformity. Sadly, these eight songs serve as merely an afterthought since a good deal of the former band members have either given up music altogether or are involved in completely unrelated projects. It really is a pity that HTT? never got their due—but with any luck—this record will ignite renewed interest in the band who, in my humble opinion, not only kick-started the crossover-thrash renaissance (I highly recommend tracking down a copy of their first full-length The Hating of the Guts) but also set the standard which has since only been met but not surpassed.  –Juan Espinosa (Six Weeks, sixweeksrecords.com)

Saigon Kiss: CD
I put this album on and was overcome at the amazing cock-rockiness of it. Turns out, the band is three broads from Denmark. How I could be surprised that “cock” is a state of mind, I’ll never know. Duh! If you are looking for late Donnas-esque beer rock—those catchy choruses, party riffs, audible vocal snarls—you are really going to like this album.  –Bianca (High Roller, hrrecords.de)

Self-titled: LP
Pretty killer hardcore that hangs out closer to the metal side of the genre than the punk side, this band really knows what sound they’re going for and they do it well. Sludgy, heavy guitar dominates every song which melds well with a dark and muddy bass to create a serene, atmospheric backdrop for the abrasiveness of the vocals. Their singer treads carefully between screams of utter desperation and rage-filled disdain through abstract and vague lyrics of suicide, anger, and resentment. The songs are very much fueled by bleaker emotion, which is then splattered onto a canvas of controlled, chaotic ambiance. They include a nice amount of well-timed breakdowns and dead air within their songs that add a tinge of introspection and nostalgia. This is a great record to listen to when you’re mega pissed but would rather zone out than think about how fucked up everything is. Also, the record is a beautiful purple-dipped vinyl.  –Kayla Greet (Self-released, bradwallacerecording.com)

Let Them Rot: 7”
This is by far the best thing Haymaker has done. And everything they’ve put out has been awesome. Incomparably angry Hamilton hardcore punk rock from the maniacs who gave us Left For Dead, Chokehold, and now Pick Your Side, this is the band’s first release in a decade, and there are no signs of letting up in any way. Fast, thrashy, straightforward songs that just reek of Steeltown. The soundtrack to utter devastation (as the aftermath of any Haymaker show has proven).  –Dave Williams (A389)

Bettin’ on a Longshot (The Singles Collection): LP
A roundup of the Bay Area oi band’s singles from the past few years. Even though all the original singles are all still readily available, this collection is a nice, concise way to pick up the Saints’ back catalog in one easy, cheap, and convenient record. As for the content, this should be the third Harrington Saints LP you grab. Their debut album, Dead Broke in the U.S.A., is excellent and their best, with the follow-up album a close second. The early singles here are decent but, in retrospect, you can tell the band was working up to something better. The later singles are solid, but still not quite as good as the albums. While another cover of Blitz’s “Razors in the Night” is unnecessary, the cover of Angelic Upstarts’ “I Won’t Pay for Liberty” (aka “I Think It Should Be Free”) is a welcome surprise and exclusive to this collection. It’s an absolute classic Upstarts song but buried on a mid-’80s, hit-or-miss album and seldom heard; hopefully this excellent take on it leads some more people to its discovery.  –Chad Williams (Step-1, step1music.com / Longshot, longshotmusic.com / Pirates Press, piratespressrecords.com))

Self-titled: 7”
This excellent throwback NYHC-influenced 7” is the first from the new Richmond band Hard Stripes. Released by the folks at Richmond’s fantastic record store Vinyl Conflict, this record is sure to turn the heads of people into classic, straightforward hardcore. As if the 1990s and 2000s never happened, this record well captures the 1980s tough guy sound, minus the bullshit tough guy mentality.  –Art Ettinger (Vinyl Conflict)

Lucky Jim: LP
Recorded twelve years after Fire of Love, Lucky Jim(1993) showed that Jeffrey Lee Pierce was not one to rest on his laurels. Although in ill health, Pierce was at the height of his musical powers, backed by arguably the Gun Club’s finest lineup: Romi Mori (bass) and Nick Sanderson (drums). Some of Jeffrey’s best songs appear on Lucky Jim, notably the title track and “A House Is Not a Home.” Jeffrey Lee was so far removed from his Fire of Love-era, psychotic-preacher persona by this point that no trace of it remained. Pierce was completely at ease with himself, no longer working within his limitations (with the exception of vocals—Jeffrey did a lot with a little) as he had long since honed his craft. The influence of Jimi Hendrix and electric blues are present on Lucky Jim. The Gun Club had completely moved away from a band centered on a clever, conceptual punk interpretation of the blues into a rock group that could do just about whatever it wanted. With Lucky Jim, Jeffrey Lee Pierce transitioned well into the ‘90s, with no signs of artistic weakness. Unfortunately, after years of substance abuse, it was his body that couldn’t hold up. Lucky Jim, from all accounts, was a dismal record to make and the Gun Club’s last. It’s a shame this lineup of the Gun Club didn’t continue, and an even greater shame that Jeffrey Lee Pierce passed away a short time later at only thirty-seven years of age. Lucky Jim was criminally ignored when originally released and, if I’m not mistaken, was only available on CD. That’s disappointing, as the record ranks as one Jeffrey Lee’s best. This vinyl reissue was long overdue and serves as a reminder of what an exceptional songwriter and musician Jeffrey Lee Pierce was.  –Ryan Leach (Bang!, bang-records.net))

“Burn Everything” b/w “Hell’s Bucket”: 7”
“Burn Everything” is a pounding garage stomper that sounds like a condensed, nuclear powered, and slightly brain damaged Rolling Stones during the verses and like something else during choruses. You’ll want to dig out the tiny scrap of a lyric sheet in order to decipher verbal emissions of the following caliber lodged amidst the scowling howling: “When I went up to your party / Watched you burn everything you own / You said your life has a sad soundtrack / Of some dumb Replacements song.” That’s heavy shit for a pelican. The B-side sounds similar, but without any discernable Replacements records. This record smokes cigarettes in metal sheds which house fifty-five gallon drums of dangerous and flammable solvents! Flee whilst you can, little ones! BEST SONG: “Burn Everything.” BEST SONG TITLE: “Burn Everything.” FANTASTIC AMAZING TRIVIA FACT: This is the first record I own where “BACKED WITH” is larger than any of the song titles.  –Rev. Norb (Pelican Pow Wow)

Bad News: CD
If you’re going to be all literate and drop names like Kerouac and Bukowski in the first line of the first song on your CD, you’re also required to know the difference between “there” and “they’re.” Get Dead’s grammatical diligence is about equal to their knowledge of country music. They suffer from what I like to call “I listened to a few Johnny Cash records and I think I understand country music” syndrome. There’s some wimpy acoustic guitar strumming and songs about drinking, enough to give a little veneer of outlaw country on top of otherwise bland punk. At least until they start dropping the ska beats. Then shit gets kind of clever for a minute, but it’s ruined by an acoustic slow jam about being tangled up in barbwire or some equally bullshitty bullshit. They should have made more use of the horn section. At least this music makes a good soundtrack to disappointment, even if it’s the disappointment you feel because you’re listening to this music.  –MP Johnson (Fat)

Late Republic: LP
“The easiest years have come and gone / are you fading away, or are you holding on?” Those lyrics are from a Future Virgins song that came out five years ago. Since then they’ve release two full-lengths and a split 7” with Toys That Kill. Future Virgins aren’t just holding on, they’re digging in, pouring a foundation, and building a cathedral of a catalog that myself—and many others—are gladly finding some solace in. Their records play like heartfelt conversations had with close friends. When it finally comes to an end, you feel like you know and understand each other better. A rare interaction that doesn’t happen nearly enough. It’s a kind of exchange that usually requires either a great tragedy or a joyous celebration to occur. And like Let It Be (Replacements) or Mush (Leatherface), there’s this intense emotional connection while still being flawlessly playable. A flexibility that works in multiple settings, whether it’s being played as background music to laughter and beers cracking, or alone time, thinking time. The Future Virgins are more than any specification could ever grant them. College rock, power pop, even region rock, would all sell them short. It’s just extraordinary music, that’s being played through a DIY punk filter. In the turbulent seas of negativity, depression, and nihilism: this is hope for the punks.  –Daryl Gussin (Recess)

Haematic: LP
Anger gets me out of the bed in the morning. I’m angry that I have so much unfinished work. I’m angry that my students are neglected by their daytime teachers and their parents, that my dad got laid off after thirty years of loyalty, and that my best friend still has to explain to men and women alike why she is a feminist. If you’re angry, too, then Haematic will be your partner in crime. Put it down on the turntable. Let it bludgeon your cerebellum: you won’t ever be the same. Musical minimalism is tricky, but Feral Future has all of their requisites fulfilled: unharnessed ferocity, self-assured vocals, hard-hitting drums, agitated guitars, and acid-spewing indictments of oppressive bullshit. The record comes with a fold-out poster with a “trigger warning” for those who have suffered “sexual violence, and or, abuse.” Feral Future approaches these topics with as much subtlety as a sledgehammer, but what’s being said is important so it’d be wise to pay attention. “I wanna ruin you, because you’ve ruined me.” This isn’t revenge; it’s justice. “These girls are tougher than your feeble attacks.” This is support, community, and mutual respect. It’s refreshing to hear yelled what often goes unsaid. My highest recommendation.  –Sean Arenas (Western Medical, westernmedicalrecords.com)

Dental Knowledge and Meditation: Cassette
Is this psychedelic rock? I think this might be psychedelic rock! Seven songs couched somewhere in that dark and iffy land between “aural soundscapes” and woefully, terminally damaged pop songs. Stretches pass in which verses and choruses and instruments are entirely decipherable, and then things devolve (Evolve? Maybe just volve?) into a growing, shifting tide of fuzz and buried instrumentation. Not for the faint-hearted.  –Keith Rosson (Resurrection)

Self-titled: LP
Ohio certainly has a history of producing dark, vicious hardcore (Integrity, Ringworm, Pale Creation, …ahem… One Life Crew) and goddamn, Empire Of Rats is no exception. Furious, metal-tinged, and right at home alongside the aforementioned elder statesmen, Empire Of Rats sounds like a band that’s been doing this for years, which is high praise for a debut LP. There’s not much reinvention of the proverbial wheel going on here, but when something’s executed this well, it’s difficult to complain.  –Dave Williams (A389)

Self-titled: Cassette
Six-song demo cassette, recorded through what sounds like a single mic, which features some straight-ahead surf/garage rock. These songs are heavy on the hooks and feature largely snotty female vox which wouldn’t sound out of place on ‘90s Lookout! albums. Not too shabby.  –Michael T. Fournier (Shake!)

“Shark” b/w “Burnin’ Sand”: 7”
This would have been the second single following Dwight Twilley’s decently successful 1975 debut, “I’m on Fire.” The release never happened (apparently due to bureaucratic concern over Jaws-related cheesiness) until HoZac came along to pick up the archival slack. A promo sticker declares Twilley “the missing link between Big Star, T.Rex and Tom Petty,” which, frankly, about sums it up. “Shark” is a power pop tune with the sweetness of a summery Beatles jam, while the B-side takes a bit of a moodier turn. Had this single seen the light of day forty years ago, it might now be a lucky find in a cool uncle’s 45 collection. Today, I am that cool uncle, and I feel better off for it. –Indiana Laub (Hozac, hozacrecords@gmail.com, hozacrecords.com)

The First of the Last Chords: LP
This one’s the stunner. Apparently the Frankfurt, Germany’s scene is ready to grab up the U.S. and box us on the ears, yet you would never guess it from the band name or album art. It looks like a more modern Sub Pop release a shopper might pick up, thinking of Metz or Pissed Jeans. Instead Dulac comes from all over the post-punk map, first with a mid-era No Idea / Lemuria sound and ending the A-side with a Naked Raygun-inspired “Golem.” Side-B is no less blistering, beginning with later Damned keyboard flourishes on “Take It” and then slamming home four more tracks that can’t help but be held in the same regard as the genius of The Observers. The First of the Last Chords has gotten better with every subsequent listen. Recommended…highly.  –Matt Seward (Twintoe, twintoe.blogspot.com / Taken by Surprise, takenbysurprise.net / Crapoulet, crapoulet.fr)

Split: EP
Hands down one of the best Dropdead outings yet. They’ve slowed it down just a smidge and it has worked wonders. Some folks out there might be upset that it’s not the relentless Siege-style assault they’ve been cranking out for the past couple decades, but I think this new direction is pretty good, and look forward to hearing more. It’s high time for another LP. They’re showing more depth in the songs, and the vocals have more bite too. Plus, these songs stick in your head after one listen. “Foundation” kicks the side off, and immediately worms its way into your brain. “Rise! Rise! The future is yours...”. Then there’s “The Final Chapter” that comes crashing down immediately after. Systematic Death kept it up with their fast and take–no-prisoners style of hardcore punk. There is a reason why they are legendary, and if you don’t have any of their previous records, this is a great record to show you why they are held in the light they are. The songs rise with abandon, though they are not a white blur of noise. Instead, they have this intensity with tempo changes here and there, repetitive choruses (check out “Dashing”), and the interplay between the main vocals and the chorus. All together, it sounds like they are on the verge of collapsing into a huge mess.  –Matt Average (Armageddon, armageddonshop.com)

Split: 7”
Nearly a quarter century and Dropdead is still quite the ferocious beast and a hardcore punk force to be reckoned with. For the unacquainted, Dropdead play super-charged, early ‘80s Finn / Swede-inspired hardcore with just about the same deafening impact of buildings being leveled by tanks falling from the sky. Speaking of which, the lone time I saw Dropdead was on the third story of a building in Los Angeles which shook so hard each time they played a song I seriously feared the floor would collapse beneath the feet of a hundred or so blissful punks. Ruidosa Inmundica follow along nicely and may even have a lesson to offer in insanity for their American split-mates. Three songs of new-arsehole-ripping hardcore with nods to Spanish kings E-150 and Los Angeles’s criminally underrated / unknown Tragatelo. Dropdead have historically always teamed up with legendary acts for splits (Crossed Out, Totalitär, Unholy Grave, Converge, etc.) and this disc further solidifies that legacy.  –Juan Espinosa (Armageddon Label, distributed by Deathwish, armageddonshop.com)

Winter Garden Light: CD
A hard one to nail down; imagine Bob Mould with what’s-his-name from the Cure on vocals? This is one of those rock’n’roll records that I keep in rotation as an antidote / change of pace to the frenzy that is my collection otherwise. In general, Dot Dash play a more subdued and tuneful form of rock that is potentially radio friendly, but ultimately isn’t because it’s just a wee bit weird in ways that the general public can’t quite figure out. Twenty-five or thirty years ago, this would be thrown into rotation on “college rock” playlists. I like it.  –The Lord Kveldulfr (Dot Dash / The Beautiful Music)

Last Ones: LP
This debut LP from Atlanta’s Dino’s Boys is seemingly inspired more by The Spits and The Briefs than the bands that inspired those two popular bands. Dino’s Boys couldn’t be catchier, with each track exploding with energy and style. The sort of record that spreads like wildfire in the underground, Last Ones will probably already be one of the most talked about 2014 releases by the time this issue hits stands in June. Hopefully the songs on Last Ones won’t be the last ones from this incredible new band. I’m totally hooked!  –Art Ettinger (Oops Baby, oopsbabyrecords.com)

Mam kly mam pazury: LP
Dezerter are probably one of the best-known Polish hardcore bands to U.S. audiences because of the debut album that Maximum Rock’n’roll released in 1987. That album is long considered to be a classic and very important in the history of Polish underground music. This LP (of which the title translates to “I Have Fangs, I Have Claws”) is a re-issue of their eighth album and the first time to ever be pressed on vinyl. Musically, Dezerter’s sound embraces the raw and uncompromising metal-tinged hardcore aesthetic, with songs tackling environmental and vegetarian topics, all sung in Polish.  –Mark Twistworthy (Pasazer)

Decydujące Starcie: LP
Available for the first time on vinyl, this album was the tenth full length from the popular Polish band Dezerter. Full of obnoxious digital effects, distorted vocals, and tributes to industrial music of the 1980s and 1990s, this record is fairly original, but kind of hard to take. Their influence, particularly in Europe, is undeniable, but this era of Dezerter is best saved for their diehard fans. Like being in a teenager’s car who is blasting Ministry, I was ready to get out at the first red light.  –Art Ettinger (Pasazer)

New York New York: CD
This is the long-running U.K. band’s love letter to 1970s NYC. With their spot-on, no frills, driving punk’n’roll, they provide a musical tour of the ChelseaHotel, Warhol’s Factory, CBGB’s and more. This is easily one of the coolest punk concept albums I’ve ever heard. It’s also an interesting contrast to the music that came out of NYC at that time. There’s no attempt to mimic the musical style of the New York Dolls or their ilk, although those old NYC bands are clear influences for The Destructors. Also, this is definitely the music of an outsider looking in, perhaps glamorizing a time and a place that has been much glamorized, as opposed to the more streetwise tales that originally came out of the scene. Some of the tragedy is lost in favor of celebration, but that’s the point. This is as much a tribute to all of the music and movies and stories that NYC produced in the ‘70s and the impact they had on The Destructors as it is a tribute to the city itself.  –MP Johnson (Rowdy Farrago, destructors666.com)

Self-titled: LP
This Mallorca-based outfit keeps their punk en Español at a mid-tempo clip, aiming for more thud than velocity. The song lengths rarely break the minute-and-a-half mark, and while the repetitive tempos get a bit numbing after a while, they deliver with sincerity and some effective hooks that come across more successfully when digested in smaller bites.  –Jimmy Alvarado (Crapoulet, crapoulet.fr)

De Dag: 7”
De Kift is punk-flavored to be sure, but would probably be more properly described as experimental, or non-standard or, dare I say it, punk-progressive. The tunes on this record were originally recorded in 1988, which makes sense now that I look at the liner notes, because De Kift remind me of the somewhat experimental punk sound that arose in the mid- to late-’80s with bands like Th’ Inbred and such in response to the snooze-fest that hardcore was becoming at that time.  –The Lord Kveldulfr (Antena Krzyku)

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

| 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

·Interview with Dennis Lyxzén of The Lost Patrol Band and The (International) Noi

Razorcake Records

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.