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· 1:The Rikk Agnew Band, Symbol Six, Barrio Tiger and A Pretty Mess
· 2:Interview with Adam Gnade
· 3:Sign Up for a Razorcake Automatic Payment Plan
· 4:#323 - Future Virgins Edition with Todd Taylor and Mike Faloon
· 5:Burn Burn Burn Interview


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Record Reviews

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Below are some recently posted reviews.

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PITY PARTY / VACATION BIBLE SCHOOL:
Split: 7”
Pity Party: Featuring Fid of the Measure [SA] and Joel and Cassady from Sexy Crimes. Spazzy and a little unhinged. It sounds like a confluential wave-crash of Toy Dolls and PS Elliot playing ADHD (as opposed to NYHC) hardcore —sweet, spastic, and time changes galore. TroubleCity, here we come. Nice. VacationBibleSchool: Chicago-styled, modern pop punk for the “please play more, Pegboy” fan in all of us. Beefy hooks. Peppy delivery. Dour subtext. Honest dudes. Clean, clear, and punchy recording. If this was the future that didn’t suck, a can of beer would pop out of the top of the record and open itself up at the beginning of the first song. Don’t take this shit for granted folks, because there are a thousand ways to fuck this up and two or three ways to do it right. –Todd Taylor (Underground Communiqué, undercomm.org)


PINK REASON:
“Ache for You” b/w “Darken Daze”: 7”
Ohio and environs—close enough to be far away. Far away enough to be left alone to form a unique identity and not harvested by the microsecond by whatever style is in fancy, almost regardless if the shiny/fancy shit is on the backs of undocumented souls and decades of great work. I’m thinking Sun God, This Moment In Black History, The Chargers Street Gang, wherever the Homostupids are from. There’s a bleak desperation in Kevin DeBroux; a rust-encrusted, poverty-ensnared, life-is-shit, better-play-music vibe in Pink Reason that I really respond to. It’s outsider music for those without a backup plan. To give you a watershed, it’s garage rock without the comfort of a garage. Handgun in the Laundromat. –Todd Taylor (Savage Quality, savagequalityrecordings.com)


PINBACK:
Information Retrieved: CD/LP
At this point in their career, Pinback has made one thing clear: every album they release sounds pretty similar, but dammit if they aren’t all good. What allows Pinback to get away with this redundancy is that there aren’t any other bands that sound quite like them. The dual harmonies of Rob Crow and Zach Smith complement one another so well, it’s as though they were always meant to go together. The multi-instrumentalism (it seems there’s always something else to listen to in each song­­—strings, keyboards, piano, electronic drums, bass, and various guitars), and the darker nature of the music mixed with the pop sensibilities cause the band to stand out in the indie rock scene. The lyrics continue to remain obscure, albeit catchy. “It shouldn’t be so hard to have a nice day,” the band sings on “Diminished” and soon I’m crooning along, too, but I have no idea what I’m even singing about. And in the course of the ten songs in thirty-eight minutes, this happens frequently. The opening track, “Proceed to Memory,” might be one of the best rock songs I’ve heard this year and while none of the other tracks can top it, “True North” and the closer, “Sediment,” are both strong numbers. The one stinker on Information Retrieved is “Denslow, You Idiot!,” mainly because the keyboard sounds like it was taken from a rejected Wesley Willis song, especially at the beginning of the track. While the nuances of the tone of an album can be rather subjective, Information Retrieved seems to be more melancholic than much of Pinback’s previous work, which sits well with this reviewer. The day this band records a happy pop album is the day I stop listening to them. But based on where they’re at with this latest album, it appears that’s not occurring any time soon. –Kurt Morris (Temporary Residence)


PIG DESTROYER:
Book Burner: CD/LP
I’ve been waiting five years for a new Pig Destroyer album. The band’s last release, Phantom Limb, came out in 2007, and is in my top five all-time favorite albums. It would be tough for this Maryland/Virginia four-piece to top that glorious slab of excruciating grindcore. The nineteen songs on Book Burner arrive in thirty-two minutes, being reminiscent of older albums in their catalog like 2004’s Terrifyer in so far as the bursts and brevity of the tracks. Guest vocals are prevalent on the album, which is unusual for the band. Vocalists include Kat Katz and Richard Johnson from Agoraphobic Nosebleed (Pig Destroyer guitarist Scott Hull’s other band), and Jason Netherton of Misery Index (Pig Destroyer drummer Adam Jarvis’s other band). Upon first listen, these guest vocalists seem to upend the sound of J. R. Hayes’s rough screaming, but after more listens, it’s good to hear some different vocalists trying to hold their own with Pig Destroyer’s aggressive sound and not just doing so but complementing it. One of the things that made Phantom Limb so great was the grooves of the songs. They were long enough (more than two minutes is a rarity in grindcore) to build the song into a groove, work it through, and then end the tune, all while still pummeling the listeners’ ears. That’s not the case on Book Burner. Like Terrifyer, these songs are primarily blistering, fast, and to the point. The ones that shine (“Baltimore Strangler,” “The Bug,” “The Diplomat,” “Permanent Funeral”) are the ones that extend past the three-minute point. The rest of the songs are still good, but seem insignificant in light of the material that has depth. The lyrics also don’t seem as intelligent (no, I’m not kidding—see “Gravedancer” or “Alexandria” on past albums for examples of J. R. Hayes lyrical capabilities), either. They’re blunt, like the music, and seem to be drawing more from the Kerry King style of lyricism than the Henry Rollins school, which is a disappointment, as I had always considered vocalist and lyricist J. R. Hayes to be amongst the better lyricists in the hard music genre. Let’s face it—it’s hard to top an all-time favorite album, so despite these reservations, Book Burner is still far above almost anything else you’ll hear in the grindcore scene this year and a good place for the unitiatied to learn about Pig Destroyer. –Kurt Morris (Relapse)


PHANTOM OF THE BLACK HILLS:
Enemy!: CD
Bandana-masked, whisky-slathered, six-gun wielding outlaw country music. Banjos and mandolins played with punk speed and hardcore aggression. Psychobilly? Nah. The Phantom stomps on that pretty boy pompadoured bullshit. This disc has true grit, no question about it, and if you thought to question it, you’d likely get a blade in your gut as an answer. –MP Johnson (Ratchet Blade)


PETTYBONE:
From Desperate Times Comes Radical Minds: LP
Pettybone play a combination of ‘90s-style hardcore, a more melodic sound, and, at times, they slightly veer off into math rock type stuff. Outspoken and direct in their lyrics, they don’t mince words with their intentions. The guitar playing on here is really good. She’s doing things that aren’t typical in things like the chorus, as there are flourishes added to accentuate the mood, instead of the usual strumming that a lot of bands tend to do. The bass has just the right amount of distortion, giving the sound that heaviness and dark edge. “Justice Tonight” sounds a lot like the Born Against song “Wellfedfuck,” from the bass, drums, and the vocal delivery. There’s a dark tone that hangs over this record that I really like. They can be fast and angry one song, then shift down to something a bit moodier the next. Pretty solid record throughout from a band that more than deserves your attention. Not something you can listen to passively. –Matt Average (Emancypunx, emancypunx.com)


OCCULT DETECTIVE CLUB:
Alright Gentleman: 7”
I swear, listening to an Occult Detective Club record makes me feel like I’m experiencing street punk-influenced pop punk (I loved One Man Army) for the first time again. Every hook and riff is just absolutely perfect when paired with the vocals of what sounds to me like a ballsier Elvis Costello. Just as recent as the release of this record is a split 10” with Something Fierce, another excellent Texas-based outfit who receive many comparisons to the Clash for both sound and modern relevance. If that’s the case, then I’d have to say that Occult Detective Club is our generation’s Stiff Little Fingers and I say that with absolute faith in how bold of a statement that may be. Pick up this record and tell me it doesn’t fucking rock. I’ll slap you silly. –Juan Espinosa (Dirt Cult, dirtcultrecords.com)


NORTH OF GRAND:
A Farewell to Rockets: CD
These songs all have hooks galore… And I’m a total sucker for a hook. But, the hooks just can’t seem to hold my interest here. This record is like if you had a group of kids who were weaned on a steady diet of Superchunk, Knapsack, and Jimmy Eat World when they were younger. Age the members fifteen years and then have this same band come together to create the most polished, radio friendly rock record, and this would be the result. You can tell there are great ideas here and the hooks are undeniable, but it comes off too much like a band trying to “make it.” –Mark Twistworthy (Brolester)


NORMALS, THE:
So Bad, So Sad: LP
The Normals were one of New Orleans’s early punk bands that really didn’t get much out vinyl-wise during their initial run, but what they did manage to release, namely the “Almost Ready”/”Hardcore” single, has become quite the bee’s knees among the collector circuit—and with good reason. Since then, a number of releases featuring various recordings have been released, and this is the latest. Comprised of ten tracks from a 1979 demo and an alternate mix of “Almost Ready,” this marks the first time these tracks have made it to vinyl. The sound quality is release quality, which leaves one figuring they probably just didn’t have the moolah to release it proper-like back then or something, and the songs themselves are solid bits of punchy punk rock along the same lines as their much ballyhooed single of yore. Nice addition to their legacy here. –Jimmy Alvarado (Last Laugh)


NOFX:
Self/Entitled: CD
Solid return to form by this outfit. If you’re expecting politically correct punk, you might as well turn this off after thirty seconds, since the first song is called “72 Hookers!” The ‘80s are represented by everyone’s favorite politicians-“Ronnie & Mags.” Since this is post-breakup record for Fat Mike, he sings about what really matters to him most—his record collection. “I’ve Got One Jealous Again, Again” is a great song. There’s even a Christmas song on here, so what else do you need? The only fuck-up is the picture insert, which, for some reason, omits El Hefe dressing up in drag. I’ll let it slide this time. –Sean Koepenick (Fat Wreck, fatwreck.com)


NO PROBLEM:
Living in the Void: EP
This is a band that just gets better with every record. This EP cranks all the way through. The title track is a crusher. The tempos vary and there’s a bridge to underscore the energy and increase the tension. The vocal delivery is great! The words are spit out with venom, and opening the record with the bellow of “Living in a vooiid!!!” definitely grabs your attention. Made better when the music matches it. The song is fast and heavy at the same time. “What Have I Become?” has a really cool pace, and the pacing of the vocals is great. They can be fast, crushing, and tuneful all in one song. No easy feat. –Matt Average (Debt Offensive, debtoffensiverecs.bigcartel.com)


NO MORE ART:
Tough to Breathe: 7"
Grade-A pop thuggery here. The lyrics are a little clunky in spots, but, on the whole, you get two wallop-packing, mid-tempo bruisers that would handily crack the charts if the world wasn’t so ass backward. Hope a full-length ain’t too far behind. –Jimmy Alvarado (Deranged)


NO BAILS:
Self-titled: 7”
This is what the punk rock of today should sound like, if Buck Biloxi And The Fucks didn’t exist. Only slightly less awesome than label mates Buck Biloxi, even with the extra points No Bails get for covering Head when I saw ‘em live. Simple, straightforward music by some dopes who got together to say “fuck you.” Near perfect! –Sal Lucci (Orgone Toilet, facebook.com/pages/Orgone-Toilet)


NEEDFUL THINGS / ROSKOPP:
Split: 7”
Okay, here’s my beef: I’m immediately turned off by any record that A. doesn’t include lyrics but B. still uses imagery in their packaging that includes scenes of shocking violence, images that frequently take place in underdeveloped or war-ravaged nations—in this case a video still of a group of smiling men holding a man’s severed head aloft. There’s no context beyond the bands’ attempt at being “brutal.” I understand that it’s supposedly an aesthetic of the genre (in this case, grindcore), but I personally think it’s totally fucking irresponsible and exploitative. That aside, both bands here sound like some gigantic dot matrix printer screeching behind Yog-Sothoth’s answering machine message. Meaning the record’s essentially a wall of noise with a monster yelling over the top of it. I’ll pass. –Keith Rosson (To Live A Lie, tolivealie.com)


MORONS, THE:
Discography: Cassette
The Morons! Really? I have to review... The Morons?, was the first thing to go through my head when I saw this tape. Then I put it on and got a swift smack in the face for making assumptions based on a shitty band name alone. The first song, “Come Get Drunk with Me,” is pure punk rock perfection, a song so flawless in its portrayal of punk rock camaraderie it fails to be a classic simply because of its obscurity. It’s in the voice of a guy drinking alone and missing his friends: “If you will come get drunk with me / too sloppy drunks is all we’ve got to be / I’m not asking for much just some fun / will smoke some crack and go for a beer run / To the store for more beer / I wish you guys were here.” The Morons are one of those rare bands that redeem the banal melodic hardcore genre by taking the Fat Wreck/Epitaph/skate video style of punk, ramping up the speed, and just playing the living shit out of it; much in the spirit of British bands like Snuff and Guns ‘n’ Wankers and even Motörhead (they do covers of the latter two), but still, whether it’s the lead singer or all of the band jumping in together on vocals, you can hear every word over the din. From what I gather, this is the retrospective discography of the band. They were pretty prolific in the early nineties in Chattanooga, a town famous for wonderfully obscure bands. It kind of makes me feel left out that they had all this fun and I just found out about their music. But it’s better late than never, so jump on board. –Craven (Once Tender)


MONKS OF SCIENCE / DEFAULT:
Inspirations and Escalations: Complete Recordings 1987-1992: CD
This disc is a pretty crucial release that gathers all the recorded output that both bands had. I had frankly never heard of either band, so this compilation was a real treat for me. To recount, both bands were active in the U.K. from 1987 until 1992. I think both bands were essentially the same band sans a lead singer and an added bassist. The only real problem I had with the disc was the chronology of the track listings. Default happened earlier in time, but their tracks are at the end of the CD. Likewise, the liner notes detailing everything are kind of jumbled in the same manner. Luckily, this doesn’t really matter, as the disc kills! Both bands cranked out an awesome blend of American-styled pop punk that sounds familiar yet fresh even today. The Default tracks feature vocalist Loyd Sims who took his vocal cues from Glenn Danzig, it seems, which isn’t a critique as much as an observation. Conversely, the bassist who joined The Monks was Stuart West—who you might know as Stu West—currently a member of a little band called The Damned. This disc is totally worth making an effort to find. –Garrett Barnwell (Boss Tuneage)


MODRA:
The Line for the Men’s Room: LP
This record has trance-inducing qualities. It’s all I’ve listened to tonight. Over and over and over. The music is minimal, guitar-driven, and light on the percussion (it’s there, but treated almost like something you kick around the room just to get it out of your way). My immediate thought, right before I fell under this album’s spell, is these guys remind me of Jandek, FSA, as well as the Sonic Death tape from a long, long time ago (I wish that would be repressed on vinyl). The notes are plucked, sometimes sharp, sometimes cold, and, strangely, the sound goes over you like a warm blanket (much nicer and less corny than a Snuggie). But these guitars, though sparsely played, ring out, and float around, while there are some noises in the background vying for your attention. I like when they flesh out the sound more and create nervous tension with a bass thumping like a motor in the song “The Restless Dream.” As they transition into “She’s Too Big,” my mind has melted into a puddle. By the middle of the second side, I’m vaguely aware of my surroundings. I don’t want to get up from my chair. I just want to sit hear and listen and look at how the lamp cast shadows on my cottage cheese ceiling. –Matt Average (Savage Quality, savagequalityrecordings.com)


MIXTAPES:
Even on the Worst Nights: LP

The best shit comes your way when you aren’t looking for it. I don’t believe in fate or that the universe has a plan or any of that sitcom-type spirituality, but life has a way of handing you one record a year that you really fuckin’ need. In 2011 it was Houseboat’s Thorns of Life. 2012’s undisputed heavyweight contender for the record I really had to have in my life is Even on the Worst Nights. Rustbelt kids just tryin’ to figure it all out with a real knack for super-catchy melodies and big-ass hooks. They’re not reinventing the wheel or squaring the circle or whatever the fuck it is reviewers say when a band’s not “groundbreaking,” but damn are these songs good. Days are gray and shit generally sucks, but I get just a tiny little glimmer of hope when I listen to this record. Fuck yes.

–Ryan Horky (No Sleep, nosleeprecords.com)


MISSING MONUMENTS:
Self-titled: 7”
Three spot-on bits of punk/rock embedded with pop hooks so sweet they’ll likely get your teeth rotting after one listen. –Jimmy Alvarado (HoZac, hozacrecords.com)


MASKED INTRUDER:
Self-titled: CD
2011. I’m on tour in Boston, walking around the city post-set, depressed as hell. Life is not going well. I get a text from our guitar player telling me that I should get back to the club pronto. The band playing now is “fucking awesome.” I cannot actually remember the last time this particular guitar player has enjoyed a band (let alone sent me a text). I high-tail it back in time to catch the last half of Masked Intruder’s set. Four dudes in different colored ski masks doing a hood/stalker schtick playing pop punk. I try to be cynical (the bad mood, remember?) but can’t. They really are “fucking awesome.” They brightened my whole day with their Ramonesy, classic Lookout-flavored pop punk. I had some trepidation upon receiving this in the mail though­; being a “gimmick” band is a tricky tightrope to walk. Lean on the gimmick too hard, nobody cares about your songs. Abandon the gimmick, pretty soon you’re Kiss without the makeup. (Although let’s be honest, they started to suck years before they took the makeup off.) This could have easily sucked and ruined my good memory. However, Masked Intruder does a pretty good job with that particular balancing act. You could enjoy these tunes on their own merits without even realizing that all of the love songs were really songs about weird, creepy stalkers in different colored ski masks. Provided, of course, that you really dug super catchy pop punk. And fuck you if you don’t. –Ryan Horky (Red Scare, redscare.net)


MASERATI:
Maserati VII: CD/2 x LP
Two years after the death of their drummer, Jerry Fuchs, Maserati is back with another solid piece of instrumental indie prog rock. Pardon the pun, but in many ways, it’s as though they haven’t missed a beat. The band continues their progressive rock evolution, this time drawing from influences such as prog-era Genesis (see their song “Abracadabracab”) and Kraftwerk to create an album that picks up where they left off with Passages, their 2010 release. The nine songs that emerge over fifty-four minutes show that the group hasn’t changed much but still has a few ideas up their collective sleeve. That includes the first use of vocals (“Solar Exodus,” although done through a vocoder), and some utilization of keyboards. I’ve been a fan since Maserati’s first album (37:29:24) was released back in 2000. While the band has changed members and their sound has progressed from indie-rock influenced jamming to electronic-influenced music, the band has remained competent in all they do. It’s really hard for me to understate how well Maserati has served me as fulfilling background noise, too. I can read to their songs without getting distracted, but also realize that there is competent, catchy, quality music being played in the background. This is music one can get lost in or sit back and listen to closely in order to try and figure out what makes such a tight group of musicians work so well. Maserati VII certainly continues in that vein of success. –Kurt Morris (Temporary Residence)


MASCARA NITES / THE POOR CHOICES:
Split: 7”
Mascara Nites seem to fall somewhere between Cub and the Donnas. They’re definitely going for a rock vibe, but their pair of songs aren’t overproduced and dorky, nor are they entirely cutesy and delicately crafted. Lacking really significant hooks, but still pretty convincing. There are apparently eight people in the band. Including, yes, a tambourine and triangle player. The Poor Choices do what’s essentially more of the same, and they sound somewhat like if Texas Terri, again, wasn’t overproduced and dorky. The record’s fun enough, but I couldn’t help wishing either band had brought a bit more ferocity and/or songwriting hooks to the table. –Keith Rosson (Shake!, experienceshake.com)


MARCHING ORDERS:
Songs of Yesterday: 7”
Australia’s Marching Orders blew a lot of us away when they played at the East Coast of Oi! festival a few years ago. Their records aren’t too shabby either. This two-song single features the ultra catchy “Songs of Yesterday” from their new LP as well as a cover of the classic “Mods Skins Punks” by The Professionals. While firmly rooted in oi, Marching Orders also have a lot in common with European street punk bands like Klasse Kriminale. Marching Orders are as catchy as punk gets, so these anthems are hard to resist. Expertly recorded at a Melbourne studio, this 7” is a prime example of how to retain musical credibility despite slick production. They might call themselves Marching Orders, but no one’s going to be giving them their marching orders anytime soon. –Art Ettinger (Longshot)


LOACH:
Demo: Cassette
Close your eyes and imagine being crammed into a sweaty basement with a bunch of other punks. All around you is the faint smell of cigarettes and booze. A band takes the stage, and begins ripping through songs with maniacal fury. The crowd breaks—you find yourself being pushed across the room—and can’t help but join in the frenzy of moshing. Sound like a vivid image? Now open your eyes. You’re still in your living room, sitting on the couch. The experience I just described for you is the experience of listening to the new demo from Loach. Featuring a little over nine minutes of churning, raging hardcore punk, the demo has a very live-sound, making listening to it a visceral experience. It’s not so far removed from the band’s actual live show, but it’s a great stand-in for when you can’t rage with them in person. Featuring former and current members of Ripshit and Circle, Circle, Loach is a band definitely worth checking out. –Paul J. Comeau (Loach, loachhc@yahoo.com)


LITERATURE:
“Cincinnati” b/w “It’s Cruel”: 7”
When I first started hearing bands of the current power pop trend, for instance, some stuff on Burger Records, I was stoked. It just seemed like just good ol’ rock’n’roll to me. Now it’s an oversaturated market where every band has the same shimmering, slightly psych guitars and high vocals. This band is indistinguishable from the rest of ‘em and the songs disappear from memory as soon as the record’s over. –Craven (Square Of Opposition, squareofopposition.bigcartel.com)


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