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· 1:Featured Record Reviews From Issue #81
· 2:#327 with Kurt Morris
· 3:Punk Parenthood for the Sleep Deprived
· 4:#328 with Bianca Barragan and Simon Sotelo
· 5:Creepy Emphera #1: Cadaver Synod


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Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock
Chantey Hook, Underground 7" *Limited Color Vinyl


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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KILLING THE DREAM:
In Place Apart: CD
The margin of error for bands like Killing The Dream, that space between so-so and so fucking good, is oftentimes razorwire thin. It’s so easy for bands of this ilk to get toe tagged with a “sub par Tragedy” reference; bands with a melodic undercurrent that are simultaneously grounded in that feeling of “oh shit” one probably gets that second or so before one gets hit by a semi. I mean, don’t get me wrong, Killing The Dream is well-founded within the confines and restraints of the current hardcore crop, but they’ve managed to avoid the pitfall of “been there, done that” by giving us a complete package here—their vision as a band is ferocious as fuck, absolutely focused, and totally complete, and frankly, the picture they’re painting is a dark one, in a way that’s both beautiful and menacing. It’s a pretty stunning record, one that doesn’t let up from beginning to end. Recorded and packaged and (most importantly) performed excellently, these guys belong in the upper tier, and In Place Apart deserves repeated listens from kids who’ve already worn out their From Ashes Rise LPs but still wish Fingerprint were still putting out records. –Keith Rosson (Deathwish)


KILLER SQUIRREL:
Songs for the Christmas Party: CD
Their delivery is still pretty rudimentary, but the sound quality is actually better and the songs are much catchier than the last time ’round. Loved the song titles, especially “The Cowboy Illuminati Get Their Revenge.” –Jimmy Alvarado (Operation Phoenix)


LOVE EQUALS DEATH:
Night Merica: CD
Sometimes it might sound good to me, but I still might not like it. This record was recorded superbly, but I’m just not moved. It kind of flies all over the map. I swear one song reminded me of Billy Idol meets Chemical Romance. Other songs sounded like they were mid-period AFI, Good Riddance, a little Bad Religion and even a little Less Than Jake. They sound like well-accomplished musicians but haven’t really decided on a niche. The last song is an acoustic number that almost seems like they are reaching for the audience that put Rise Against’s Swing Life Away on the modern rock charts. I have to say that I’m going to pass. –Donofthedead (Fat)


LOVE EQUALS DEATH:
Night Merica: CD
I think anyone starting a band like this needs to start asking themselves some real serious questions. Does the world need another AFI? How about another Fallout Boy? Well, if those two bands are on a list of your favorites, should you be allowed to play music? Your intentions couldn’t be any more obvious. Hurry up and get on to MTV and stop trying to push this shit sound to the underground. –Guest Contributor (Fat)


(LONE) WOLF & CUB:
May You Only See Sky: CD EP
Metal can get too serious at times: either with the costumes some bands wear or just the content of the lyrics. Here is a band that the music sounds serious and is tough as nails, but they have a sense of humor. Titles like “I Swear I’ve Been to This AutoZone Before” and “If I Were a Snake I’d Be a Belt Now.” That is funny to me. By looking at the titles alone, I thought this band was going to be pop punk or something else that would be silly. But what came through the speakers was some heavy shit: heavy Black Sabbath riffage mixed together with some up-tempo poundage. There are also points that remind me of Iron Maiden with the dual guitar attack. Add those ingredients with some black metal and the description might be close. Now bang thy head. –Donofthedead (HeWhoCorrupts)


LETTERS IN BINARY:
LETTERS IN BINARY: CD
Methinks this hardcore band listens to a wee bit too much John Zorn. –Jimmy Alvarado (www.conspiratorsinsound.com)


LEMURIA/FRAME:
Split: 7"
Lemuria sounds eerily like Half Fiction-era Discount—the woman’s voice is dead-on. I have no idea if that’s what they were shooting for, but that’s what I’m hearing, right down to the slightly off pop structures and lilting vocal rhythms. It’s good stuff for sure. But then I flip the record and I’m totally confused. What the hell happened to Frame? I really thought they were onto something on their recent split 7” with Karate For Kids. On that record, they seemed poised right on ye olde precipice between “good pop punk” and “really good pop punk,” but their two songs on this record sound like a godawful mix of Amber Inn and, ugh, Promise Ring or something. It makes my skin crawl and sounds like a watered-down soundtrack for an art film, like if emo came in Budweiser cans. Guys, what happened? –Keith Rosson (Salinas/Art Of The Underground)


LEFT FOR DEAD:
Live: LP
I’m not a real big fan of live records, but this one sounds real good. The band was originally around in the ‘90s, based out of the Toronto area. The group disbanded and went on to other bands like Ruination, Haymaker, Cursed, and Chokehold. They got back together in 2004 to do a benefit. Seeing the opportunity, the event was recorded. Since I have no history of ever hearing this band before, this was a good introduction. Guessing from the time period, this type of hardcore punk was not prevalent around the world. There was a big ska, pop punk, and emo boom going on at the time. So a band like this would most likely be short lived due to the small support group at the time. But I don’t know the reason on their breakup. I do know that this record shows that I really missed something. The band was one mean mother to reckon with. The songs are fast and heavy, with vocals screamed at damaging levels. If you have heard the output of the bands they went on to, you can hear what they carried with them. –Donofthedead (Deranged)


LAWRENCE ARMS, THE:
Oh! Calcutta!: CD
Somehow, this is my first time hearing the Lawrence Arms. Their name was always bundled with Jawbreaker (as in “they sound like…”), and none of those bands that were supposed to sound like Jawbreaker ever really delivered. (You heard me.) So the Arms stayed under my radar and I can’t put Oh! Calcutta! in context with however many previous records they have. [Dramatic pause.] But this one is good! While Jawbreaker’s songs belied its members’ youth, the Arms still have a distinct feeling of “excited kids.” Even with most of the lyrics sticking to bummer territory, there’s an audible joy to be playing fast and yelling. WARNING: This next part of the review contains a SPOILER regarding the album’s SECRET TRACK. The Arms do country-rock, a catchy disillusionment/oh-yeah-that’s-why punk anthem that sounds as genuine as any other decent alt-country act. But those bands probably don’t write songs about punk rock or reference His Hero Is Gone in their lyrics. I’m seriously impressed. –Guest Contributor (FAT)


LAWRENCE ARMS, THE:
Oh! Calcutta!: CD
It’s been a good four years since I really listened to any output from this band. It was the Apathy & Exhaustion LP and I remember liking it enough to keep it. Doing a little research, since it seemed odd that I haven’t heard anything in four years, they did release something a couple of years ago. This band seems to have matured greatly. The songs and the tones coming from their instruments have a deeper emotion to them. The time that they have now been together has really made them into one cohesive unit. I’m not an Against Me! fan, but that is what it sounds like to me but mixed with a little Hot Water Music and adding a more melodic touch to the songs. The delivery is strong, and I can feel the conviction of the band. Looking at the liner notes, they recorded the songs on analog. I thought that the songs had stronger tone than what usually comes out of the studios that are recorded on the computer with ProTools. The bass tones are warmer and the highs are less harsh. Also, if you have recorded in analog, you know you have to be dead-on when recording. There is less room for error. So these guys were well rehearsed when they went in to record. It shows. They may not be one of the larger bands of the genre, but they are definitely one of the better ones. –Donofthedead (FAT)


LAST VEGAS, THE:
Seal the Deal: CD
I’m hearing less “punk” and more Nugent-style rock-in-overdrive (minus the lame sex metaphors) here, which ain’t exactly a bad thing. Hell, I’m just pleased they ain’t another buncha Dolls clones. –Jimmy Alvarado (Get Hip)


LAFCADIO:
Sham Duvet: CD
This Indianapolis-based noise metal band delivers their nine-song debut with a schizophrenic energy reminiscent of Mr. Bungle mixed with Deftones, Faith No More (or anything Mike Patton’s had his hands in), Don Caballero, and your average noise band. There’s a definite prog edge to the music with vocals that range from hardcore screaming to singing and metal growling to spoken word. Of course, to add to its immensity, Sham Duvet is a concept album and the lyrics read just like the chapters to a book, laying out the tale of the protagonist, the aptly named Sham Duvet. As their website says, he “is a neurotic/prophetic figure with a messiah complex.” This whole thing wasn’t entirely up my alley but it’s got great production and is pulled off well and has a lot of intensity and quality musicianship. Fans of the genre would do well to check this out. –Kurt Morris (Joyful Noise)


FLAMING STARS:
Named and Shamed: CD
Up front and not previously aware of the band, it's Gallon Drunk, the Gun Club and Lou Reed. Heavy on the Lou. Throw in some Joy Division and Nick Cave. Occasionally interspersing the inherently washed-out and dressed-up standard British moodiness is a dimly sparkling piano-bar piano, which sashays to the front of a rumbling Ennio Morricone-style bass. Smoky vocals tango with a Flamenco guitar. A twanging six-string twitches hesitantly as if it were a private Dick tailing a suspect into a dead-end alley. While the album is not quite that suspenseful, what you're listening to is still theoretically very Warhol-ish and painfully nouveau (think Velvet Underground). The band's musical reference to Gallon Drunk is empirical (lead Max Decharne drummed for them), but what really strikes me, above all else, is that Decharne's strong fascination with and invocation of Lou Reed rivals, if not supercedes, Morrissey's idolism of James Dean. –Jessica Thiringer (Alternative Tentacles)


FEVERS, THE:
Love Always Wins: CD
Signs that this record is not entirely On Its Shit are apparent from the get-go: Side One, Track One ("Dance") is a song about slow dancing, but it is not a number that can be slow danced to—which places it, of necessity, into the role of a sound-the-call-and-rally-the-troops-it's-dancin'-time type album kicker-offer, which is foolish, because a song about wanting to slow dance implies that the main character, who represents both the singer and the listener, wishes to stop fast dancing at his earliest convenience, so he can slow dance: As a fast dance number with a built-in deathwish, the song essentially neutralizes itself, and makes as little sense as starting L.A.M.F. off with “Going Steady” would have. The second song would have been an okay second song if the first song was really great, but, as the first song was not really great, as first songs should be, the second song is forced into a role of delayed de facto first song, which it does not succeed at. The third song, "Don't Tell Me It's Wrong," is a great third song, but third songs on albums like these are always a twinge more downbeat and wistful than the two which precede it, so now we've got an album that, for all practical purposes, skips the first two songs and comes in on the slightly more melancholy third song. Okay, fine. Song four, "Bound to Cry," is an excellent fourth song; an uptempo potboiler if you will, but it is followed by the 6/8-time ballad "Lonesome Tears," which, at Side One, Track Five, is in the exact right spot for a 6/8-time ballad (if you believe in that sort of thing), yet it also unfortunately kills the late-developing momentum developed by the third and fourth songs. Side One ends with a cover of the Flamin' Groovies' "Let Me Rock" with new lyrics added by Fever B on accounta the original ones are unanimously unintelligible. I am neutral on this song because no one yells "oh, skooby-doo-oo!" at the end. The historically important Side Two, Track One spot (important because the first songs on each side of a vinyl record are the two most likely to be played by beleaguered DJs since they require much less time to cue up than other tracks) goes to the title track. I am kinda unimpressed with it. It sounds like one o' those songs where the inconvenience of it being not-so-hot of a song blinds people to the fact that, it is, in fact, not-so-hot of a song. The record's fate is sealed: This is... But the Little Girls Understand to their first album's Get the Knack. Sandwiched between an okay Side Two, Track Two and a completely blah Side Two, Track Six, however, is the album's secret fizzy center: Three tracks of perfect bubblegum—a cover of the 1910 Fruitgum Company's "Get Your Luvin," the "are-you-sure-Lancelot-Link-and-the-Evolution-Revolution-never-did-this" bittersweet kindergarten genius of "Photobooth," and "My Iy Iy," a song of such amazing gummi-perfection that i swore it was on some Buddah Records thing that i couldn't find until i contacted the band and found out that they wrote it in like 1997 or something (he calls her at one; she’s out having fun. He calls her at eight; she’s out on a date. How the guy managed to make it through the entire song without saying I call you at six, you’re out sucking dicks is beyond me). By my count, the band goes about 5 or 6 for 12 here—disappointing but not devastatingly so. Dammit, entropy is what always actually wins. Ask around. BEST SONG: "My Iy Iy" BEST SONG TITLE: "My Iy Iy" FANTASTIC AMAZING TRIVIA FACT: The "WHAT? WHALE" pseudo-record-label-insignia on the cover is a parody of White Whale Records, best known for being the Turtles’ label. –Rev. Norb (Screaming Apple)


FEELERS, THE:
Learn to Hate the Feelers: CD
Well, I can’t say that I hate them, but I was definitely disappointed with this full-length. The split with the Blank Its was fantastic and I was really stoked to get this, but I have a feeling that there was a lot of weed involved in the writing process. The two songs on the seven-inch were driving, fast punk rock songs, and the songs on here are more like Devo. I like Devo, but I was expecting something on the level of the Baseball Furies or Sweet JAP, so it kind of threw me for a loop. The reverb on the vocals was pretty annoying, too. Why do bands keep doing that? For the most part, the guy sings kind of like Jay Reatard, with the occasional moment where it sounded like David Yow of The Jesus Lizard. It’s growing on me but not at all what I expected. –Josh (Dead Beat)


FASTLANE:
New Start: CD
Another UK entry of melodicore for the Warped Tour set. If you put New Found Glory, Good Charlotte, or Simple Plan in your top-ten all-time list, this bubblegum will stick to the bottom of your shoe like no other. –Donofthedead (Sucka Punch)


FALCON, THE:
God Don: CDEP
I was actually about to buy this album when the fine folks at Razorcake sent it my way, and boy was I glad. This EP is pretty solid. Definitely for fans of Midwestern punk in the vein of Lawrence Arms (the singer of the Falcons is actually in the Lawrence Arms). This CD was a true DIY effort in that the five great-sounding songs were recorded for free in various living rooms, band practice spaces, and the infamous Atlas Studios where bands like Alkaline Trio, East Arcadia, and Lawrence Arms have recorded past albums. Red Scare has had only two releases since its recent inception and so far it's a damn good track record of pop-infused punk. I can't wait to see what's next. –Mr. Z (Red Scare)


EARACHES, THE:
Get the Revolution Out of Your Head: CD
I really like the last album I heard from The Earaches, which is probably how this ended up in my review pile. I don’t know what’s happened since then. It seems like they may have locked themselves in a room where they could only listen to the Rolling Stones and The New York Dolls, and added that to their earlier sound. The result? Not something I’m too fond of. What before was raw and driving, now just seems to fit the mold of every other throw-back rock band around right now. Too bad. –Megan Pants (Steel Cage)


DROPKICK MURPHYS:
The Singles Collection Vol. 2: CD
The thing that gets me about Dropkick Murphys is that I think that they are a great band, yet find myself annoyed by them much of the time. The band is tight and the songwriting is solid, but I just have a hard time getting by the wishy-washy Irish shtick. I mean, I just can’t handle it when a band is ripping it up only to stop and bust out the tin whistle and mandolin. It just kills the momentum. That said, this record is full of the type of Dropkick tunes that I love to hear. Balls-out, sing-along tunes that compliment multiple pints at the local shithole. Strong rockers with a good dose of covers of the likes of CCR, Gang Green, and Stiff Little Fingers make this record a worthy listen. Be warned that they do delve into the Irishism a bit here. I guess they kind of have to at this point but it’s okay though because it’s far outweighed by the good stuff. –Ty Stranglehold (Hellcat)


DRIFTAGE:
Paint It Black: 7”
If you’ve never read the lyric sheet of a Japanese band that translates their lyrics into
English, then you’ve missed gems like, “What reflected in the mirror are copy robots talking cheerfully in madness. I believe that I am an original and put my egoism on a nametag.” That’s poetry. I’m not being facetious. The words seem to make no sense, and maybe they don’t make much, but think about it. Read that line a few times. It’s crazy and perfect and takes you out of your normal train of thought. It’s also a good reflection of Driftage’s music: crazy and perfect and taking you our of your normal world. It’s fast and sonic, thoughtful and a lot of fun. Without it, could we, “wander in our drift age”? –Sean Carswell (Snuffy Smile)


KILLED BY THE BULL:
Self-titled: CD
Former members of the Judas Factor and Jett Brando make up this three piece indie folk punk act. Some of the music is slightly silly, but much of it is catchy and somewhat infectious, but more in a lighter-edged manner than anything with a typically “hard” factor to it. This is hardly what one would expect from former members of a hardcore band, but good for them for expanding their horizons (think sunny spring afternoon as opposed to angry, bitter winter). The rhythm section is very tight, as the bass line is all over the place and the drumming can go from steady to blistering. Unfortunately, repeated listens didn’t do much to really make much of an impression for me as a jaded music critic but maybe some fans of punk bands like Calibretto 13 or Against Me! would dig this? Meh. –Kurt Morris (killedbythebull@optonline.net)


KILL THE HIPPIES:
Erectospective: CD
I think I read somewhere that this Kent, Ohio band came up with their cartoonish name by imagining a punk band name that would frighten the kids on the insufferable ‘80s TV show Eight Is Enough. Having just moments ago turned on the TV, only to see the pudgy troll Willie Aames gurgling on about God and weight loss, I have all new appreciation for the name Kill The Hippies—even though I suspect that the ‘70s Kent State student slaying reference would be lost on poor, weight-conscious Willie. But KTH have more going on than just an inspired band name. They play some grade-A quirky, spazzed-out garage slop and they’ve been slopping away at it since 1993. Erectospective is a double CD packed with seventy-seven songs that are all over the fucking map—in turns sounding a bit like In God We Trust era DKs, Devo, Richard Hell and the Voidoids, the Crucifucks, the Spits, and the Lunachicks played at 78 RPM. All smeared with a sticky dumpster ooze and rolled through fly-infested heaps of trash. Though you could say that it’s stylistically anachronistic, it manages to somehow still sound fresh. And who doesn’t like fresh garbage? If the name doesn’t scare him, the top-notch garbage rock of Kill The Hippies would surely make Willie Aames drop about ten stinking pounds in his pants, toot sweet. Favorite Song Right at this Moment: “I’m Gonna Puke on You.” –aphid (Rock’n’Roll Purgatory)


JUKEBOX ZEROS:
Four on the Floor: CD
Fuck yes, this is exactly the kind of music I love! Bad-ass, mid-tempo glam punk in the vein of the Joneses and the Humpers. In fact, this reminds me a whole lot of that great Vice Principals LP from a few years back with members of those two bands. Somebody in this band is a Jeff Drake fan and I am reaping the benefits. The songs are the perfect tempo—not too fast—like most who try and play this style. Those leads sound so much better mid-tempo than they do at Motörhead speed. A couple of the tunes on here even remind me of that amazing Loose Lips LP on TKO. That is one of the most underrated records of all time in my opinion. Most likely this will be as well, because for whatever reason, folks just hate glampunk. It is, without a doubt, my favorite style of music in the world and the Jukebox Zeros are as good as anyone out there. Great songs, simple leads, and catchy fucking choruses. I could listen to this all day long. –Mike Frame (Steel Cage)


JOHNNY THURSDAY AND THE FRIDAY KNIGHTS:
Ruin It for Everyone: CD
Really dig the vocals on this one. Just the kinda higher pitched, vaguely glammy voice I like. It’s almost a cross between Brian from the Trash Brats and Mark from the Ducky Boys. If they were playing Dolls/Heartbreakers style glampunk, I would be all over this. Unfortunately, the songs are really fast and the two guitars are going nonstop: no real dynamics to speak of. This reminds me a whole lot of a band like the Turbo A.C.’s or the Gotohells, almost great, but just missing something. Too much guitar, not quite enough vocal hooks; the songs just aren’t quite there. Good ballad though, which, in all seriousness, is high praise from me. I am a big ballad fan and it is rare that I hear a good one, especially from a punk band, which just makes me think that if they slowed it down a bit, this band would kill. They would be a good band to see on a Friday night, but on this disc, there’s just not enough here to warrant repeat listenings. This singer should do an acoustic record. I bet that would be freakin’ awesome. –Mike Frame (Hangmen)


JEFFREY NOVAK ONE MAN BAND::
Southern Trash: LP
The Memphis Houdini strikes again—somehow he has the strength of four men playing guitars, drums, and screaming out all the air in their lungs yet keeping it all handcuffed together cleaner than you think. Southern Trash is the perfect title. Sounds like I’m on the payroll of P. Trash Records lately, but they really have been hitting on everything I’ve heard so far. If you need to get back to the bones of rock, this is a good starting point. –Speedway Randy (P. Trash, www.ptrashrecords.com)


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