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:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
· 3:#329 with Daryl Gussin
· 4:One Punk’s Guide to Poetry
· 5:#331 with Mike Faloon and Todd Taylor

New Subscriptions
Stickers and Buttons
The NEW "Because We're Fuckin' Classy" Koozie

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

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.

Imprint Indie Printing

Record Reviews

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

| 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|

< Prev Section | Next Section >

RSS Feed

Surfin with Demoni: 7”
Is it a compliment to say that something is competent? Hmmm. Maybe not. In that case, this record contains two songs worth of ultra-competent surf. Put it this way: If you close your eyes and listen, you might not be able to picture a bunch of demons surfing the ocean triumphantly with the full moon at their back (if you open your eyes and look at the cover, you’re cheating), but you might get a glimmer of an image of a not-too-rotten zombie paddling his board lackadaisically across Lake Michigan or something. And that’s kind of okay too, right? –MP Johnson (demonipsycho.com)

Dawn of Demoni: CD
I wonder why so many rockabilly or psychobilly bands end up going the horror route? Don’t get me wrong, I like the genre for the most part, and I love horror... It just seems like it is truly done to death. Demoni do it just fine, but it has trouble holding my interest. –Ty Stranglehold (P.I.G.)

Surf City of the Dead: CD
This horror surf is well played but not particularly horrific. I think if I were to listen to this strictly as surf music, I’d be more excited about it, but that’s not possible, because they really brand themselves as a horror surf band and set the expectation that the horror genre really feeds into what they do. However, aside from naming songs after horror movies, they really fall short on the scary side. For example, the first song is entitled “Session 9,” presumably after the dark, relatively subtle modern horror flick. The song is all rollicking and bright and I don’t see the connection at all. To be fair, I’m more of a horror fan than a surf fan, and I wouldn’t be surprised if those whose taste is tipped in the other direction loved this. –MP Johnson (1332)

Hot Rod Pussy: CD
This band is a bit of a guilty pleasure of mine that appeals to my puerile inner horror kid. With its obsession with fast cars, fast women, and monster movie ephemera, they manage to mine the same influences as the Queers and Sloppy Seconds and come up with something similar to both bands, but not so much to sound like another cheap rehash.  –Jimmy Alvarado (www.aliensnatch.com)

Ritual on the Beach: CD
Punky rock’n’roll with a surf theme this time out. Their sound is a little too “clean” for my taste, but the tunes themselves weren’t too bad, especially the surf instrumental, the duet with Nikki Corvettte and the cover of “Aloha Oe.” –Jimmy Alvarado (Coldfront)

Dunebuggy Gang: 7”
NOTE: All my 7” reviews were done with the lights out this issue. WHAT I THOUGHT IN THE DARK: Song #1: Neat instrumental, considering it reminds me of both Agent Orange and Radio Birdman, two of the most overrated bands ever, plus i gotta crank the stereo so high to wring any volume out of this 45 i’d probably blow a fucking fuse if i had the lights on right now. Song #2: “Dunebuggy Gang?” Whoever wrote this piece of shit oughtta be dragged thru a gravel pit behind one, unless they honestly woke up one day in such a state of dementia they truly believed they were the male coming of Nikki Corvette, in which case they should merely be locked up and sedated heavily. Song #3: This song, apparently entitled “California Nightmare,” is, without question, the GAYEST FUCKING WASTE OF SONIC WAVES i have EVER heard IN MY LIFE. This song is so fucking gay the only way i’m going to be able to sleep at night is to pretend it was all just a clever and ironic parody. This is the kind of shit your roommates wake you up with at like 3 AM on Thursday morning. In a word: “One Way Ticket to Manitowoc.” Wait, that’s more than one word. WHAT I THOUGHT WHEN THE LIGHTS CAME ON: Wait, the Demonics? Is this the same Demonics who didn’t used to suck, or is this a whole new Demonics who have been invented with sucking as job #1? BEST SONG: This record is a piece of shit. BEST SONG TITLE: This record is a piece of shit. FANTASTIC AMAZING TRIVIA FACT: This record is a piece of shit. –Rev. Norb (Gearhead)

Stockholm Slump: CD
First off, how the fuck does one pronounce the band’s name? “Quote-Demons-Unquote?” I can’t figure out if it’s genius in our time, or mere idiocy on a grand scale, like when Social Distortion always used to write out their name with quotation marks AND a hyphen before they could afford to have people write it out for them. My computer says that, alphabetically, “Demons” comes before both ? and the Mysterians and the 101ers (to say nothing of the A’s), thus i suppose the kronas would roll right in if more record stores had a “ section, but ALL TYPOGRAPHICAL MYSTERY PROTOCOLS ASIDE, i’ll go on record as saying that i’m not quite floored, not quite bored with this Scandinavian Rock Posse. Were i to describe their sound as i find fit, i’d say they sounded like the Nomads playing New Bomb Turks covers (their singer actually sounds like he learned English phonetically from Eric Davidson, therefore “dead” become “DAY-id,” “degeneration” become “dee-gen-uh-RAY-shawwwn”...synthetic good ol’ boy Americanese at its finest!). Were i to describe their sound not using any other bands in the description, i’d say “punked up heavy guitar rock.” Were i to describe the band using no sonic references whatsoever, i’d say “the kind of a band whose album cover has red letters on a black background, plus a belt buckle.” I dunno. I never really trust bands like these, because i’m never certain that they’re not the second coming of the Cult, or that they don’t secretly like Guns’n’Roses, or that they don’t PUBLICLY like Guns’n’Roses, or any of a million other Crimes Against The Me. That said, i have no specific complaints against this band/record – I mean, it’s LOUD, it’s ROCK, it has MASS and IMPACT and VOLUME – it’s a big ol’ ROCK TORRENT – but, at the same time, it’s a POLISHED and STATIC rock torrent, a rock torrent that just kinda sits there being, uh...torrential? It’s just kinda THERE. It’s a LOUD just kinda there, but, all the same, it’s still just kinda THERE – a big loud neutral background against which little bits of sonic frippery – a maraca or a vibroslap here, a sax or piano there – become the only parts of the song that are legitimately interest-grabbing (although i will say that the bass had a nice Dukowski-esqueness in spots). Other than that i like it fine. P.S. Less Iron Crosses, more Maltese Crosses. BEST SONG TITLE: “Gang Green Eyes” BEST SONG: “Degeneration Hotel” FANTASTIC AMAZING TRIVIA FACT: 1. A member of this band has a WHITE LEATHER JACKET (but has far less chevrons than i); 2. “Gang Green” was the nickname of the Green Bay Packers’ front four in the late ‘70s. I once wrote a song about one of them (“Do the Dave Roller”) but our guitar player refused to play it. –Rev. Norb (Gearhead)

Riot Salvation: CD
If you’re a fan of stuff like Zeke, Candy Snatchers, etc. you’ll probably eat this up! The vocals are very New Bombs Turksesque (attention: new word!) and I can definitely picture them playing to a packed bar every night of the week! Of course, I can’t really picture them NOT playing in a bar, but isn’t that the case with so many of these bands? This probably could be described as generic, but in my more cynical moments, I ask, “What would THAT mean? All this stuff sounds the same!” If this were a cereal, it would be generic Fruit Loops. Lots of sugary excitement, but not innovative in the slightest! –Maddy (Gearhead)

Demonology: CD
Stockholm rock’n’roll band that has compiled a bunch of songs that apparently weren’t available before. There are a few rockin’ songs on here, but what stood out are some annoyingly repetitive choruses with very cheesy lyrics. For example, “Demons gonna punch you out,” “You’re just a fucking asshole,” and “Kiss me where the sun don’t shine,” repeated over and over. The whole CD isn’t like this, but it’s enough to bug me. To top it off, they do a terrible cover of the Misfits “She.” This is one of those CDs you just rip the good songs off of and sell back for something better. –Toby Tober (Gearhead)

Satan’s Little Pet Pig: CD
As the United States sinks further into decline, Canada just keeps getting better. Universal health care, an appreciation of cultures and languages (many Canadian high schools follow a dual-immersion format where students are taught in both French and English) and low crime—the only thing they’re lackin’ is good old AMERICAN rock‘n’roll. Bad news, though—pretty soon they’re gonna have that, too. As if Les Sexareenos weren’t a sign of things to come, Demon’s Claw are poised to strip of America of its rock‘n’roll title. Yeah, yeah I know—they can’t take that away from us. Well, friends, black people aren’t making too much rock‘n’roll these days (sans Mick Collins) and that scares the shit out of me. (Don’t delude yourself—rock‘n’roll is black culture, sprinkled with a little Hank Williams…who, not so incidentally, was taught guitar by a black man). It’s as if we—the tortured citizens of the oppressive Bush regime—have turned our backs on rock‘n’roll; only the Starvations’ Gabriel Hart, Miss Alex White, and Jay Reatard are really kicking out the jams now. (And so you know: Greg Cartwright used to live in Memphis, so he’s pretty much black.) Our neighbors to the North have been keeping things together (Deadly Snakes and BBQ), and Satan’s Little Pet Pig is easily going to be one of the top-ten records released this year. Demon’s Claw have grown leaps and bounds since their last effort, branching out musically while still keeping that sordid we-recorded-this-on-reel-to-reel-tape-found-on-the-floor sound. (I mean, this record is really top notch!) Take the opening cut “Shadow of a Castle.” I haven’t heard such focused anger in years; the bass drives like an early ‘70s Iggy cut with lyrics that’d make Howlin’ Wolf say, “Yeah, Canucks, I knows what you’se talkin’ ‘bout. We’s goin’ to the bar!” But, uh, the real nail in the coffin is “That Old Outlaw.” Jesus Christ! Listen to the intro—here that guitar and bass interplay…these Canadian fucks know how to play…reminiscent of Chris Hillman matching up with Roger McGuinn, “That Old Outlaw” sounds like a good fuck feels. Again, again, Canadians aren’t supposed to interpret American rock‘n’roll like this, but they have. (What’s next?—a Canadian writer’s usurpation of Carson McCuller’s title to the American South?) I’m really despondent right now. THIS JUST IN: Predictions for the upcoming decade: The Demon’s Claw will take over little Frankie Lymons’ polygamy title and spawn nearly as many illegitimate children as Screamin’ Jay Hawkins. –Ryan Leach (In the Red)

Self-titled: CD
From Montreal comes flying an irresistible bone for the mushmouth-and-rootsfuzz camp of the Billy Childish/Dan Melchior axis (though a little more country than Childish and less Zeppelin than Melchior), with a good bit of Soledad Brothers and Bassholes chucked in for North American flavor. Best thirty-nine minutes yet this year. –Cuss Baxter (Dead Canary)

Live in Spring Branch, TX: 12” EP
Demon’s Claws spit out (I don’t think “play” is the right word) root slappy, slap happy slop-punk so raw it makes Billy Childish sound like the Engelbert Humperdinck. Like if Dan Melchior drank a gallon of Thunderbird and three pots of coffee. (At once, I mean, and then performed some songs—I don’t imagine he’d sound like this if he was just sitting around reading a book or preparing a tart.) Barely-tuned guitars sunk in reverb and a one-two drumkit that sounds to consist of just a kick, snare and a cymbal or two (drummer Skip Jensen also does a one-man-band thing and is, or was, in the Scat Rag Boosters, if that rings anyone’s bathtub) set up Royce Muckler’s mouthful-of-grubs gibber and wail (and, furthermore, shriek and moan). I don’t think the “Live” in the title means a public performance, but I have no doubt the recordings were done in one take, with the exception of “incidental noises” recorded in a cave (actual cave, not metaphor for heavy-handed reverb). Also, really nice black and blue marbled vinyl; possibly the most beautiful record I’ve ever seen. Beats pink and white marbled’s pansy ass to a pulp. –Cuss Baxter (Hook or Crook)

The Defrosting of: LP
I honestly cannot fathom why Demon’s Claws are not recognized as one of the greatest rock’n’roll groups around right now. I mean, of course this can be attributed to the fact that their label In The Red can’t buy them that distinction through music videos and other vacuous media exposure, but word of mouth should have these guys somewhere around Miami-era Gun Club. Evil. Debauched. Fucked up. Great songs. A few years back, these Canadians released Satan’s Little Pet Pig and it was head and shoulders above their previous efforts. The Defrosting of continues that artistic ascent. Jeff Clarke is a great songwriter. His arrangements are strong and his lyrics are compelling. His vocals are at times indecipherable—and the album lacks a lyric sheet—but it’s easy to visualize the scenes of degradation he describes…going to a free clinic in the south side of town…being fucking up on ketamine. It’s a bad place to be and it convincingly sounds like Demon’s Claws are providing reportage of their daily lives…. I can’t shake the feeling that this record at times feels like the 13th Floor Elevators’ brilliant last one, largely the work of Stacy Sutherland on his last leg. There is that kind of hopelessness on some of these tracks. It’s the second side of The Defrosting of that’s the burner. “You’ll Always Be My Friend” has a real street-level International Submarine Band feel to it…train-shuffle drum beat and lyrics in the form a personal letter. I haven’t read too much press on Demon’s Claws, but I’m hoping people are picking up on how talented these guys are as musicians. In particular, Ysael Pepin’s bass lines are never less than formidable, and, wisely, his work is high in the mix. The dude grooves like a refined Bill Wyman. This review is about as real as they come. What I mean by that is I wasn’t sent this record by In The Red. I bought if from Goner then paid to have it shipped out to New Zealand. Sorry. If you’re looking for sycophancy, read something else. I’ll be damned if this album slips through the cracks. –Ryan Leach (In the Red)

Laserbeams: 7”
Excellent single. Both sides. “Laserbeams” is a fast song that leans more on the punk side of the garage punk sound. A plus, for sure. Quick tempo, catchy as fuck, and the delivery is solid. Great vocals as well. “Trip to the Clinic” is a slower song, and more of the garage side. Sort of reminds me of the Starvations, only rougher. To describe the song is ridiculous. Too good. Beyond words. Just get this, and listen –Matt Average (Savage)

Self-titled: 7”
Ha ha ha ha. Both sides say “side A”. If that was intentional, I love this band. If it was a mistake, I still love this band, ‘cause it’s in keeping with the sloppy punk they play on the record. Actually, it’s not so much sloppy (they’re pretty tight) as it is raw. Yeah, that’s the word I’m looking for. Think Street Trash, Fucked Up, Bad Brains, in that order, and you can kinda figure out the road they’re headed down. This record is bad ass, and I’m glad the punks are finally reclaiming hardcore back from the jocks. –ben (4324 NE 47th Ave, Portland, OR 97218)

Detroit: CD

Ex-Radio Birdman guitarist hits the deck running on his second solo album. “Pine Box” grinds some gears in the Stooges chassis, but from there Tek takes a U-turn. It’s still rock, but with more of a blues edge around the corners. “Can of Soup” and “Perfect World” are stand-outs, but playing Detroit while driving on a dusty highway in the desert would make a hell of a lot of sense. Solid musicianship by all the players here and well thought out songs make this record feel like a well of cold water that thirsty music lovers can come back to anytime.

–Sean Koepenick (Career, careerrecords.com)

Danger in Disneyland +2: 7"
Striped-shirt bubblegum punk from Detroit, hauled out of the vault and finally seeing the light of day. The funny thing is this was recorded in 1979 and sounds nearly identical to stuff that bands like the Connie Dungs and Beatnik Termites were putting out fifteen or twenty years later. We’re talking buzzsaw pop and big hair. Not as tough as the Dead Boys and way more straight forward then the Stooges, but a decent record notwithstanding. “Danger in Disneyland” is a studio track and the two on the flip are live tracks that show the band could dirty it up a bit when they wanted to. If they’d been around fifteen years later, labels like Mutant Pop would’ve been shitting their pants over this band. Pretty decent record despite the fact that the band photo on the sleeve makes them look like they were trying to be on a Bay City Rollers tribute comp. –Keith Rosson (Young Soul Rebels)

Wasted Days, Follow Dreams: 7”
I desperately need a classification lesson for all things screamed. This is all soft, soft, kick drum, fast, back to slow, kick drum to fast, and sounds like they went to art school? So, what the hell does that make this? I’m not sure what it’s called out there, but I usually call it crap. –Megan Pants (Spicy Soup)

USA Punk 70's: CD/DVD
…to be brutally frank, if you’re already in possession of the “Excuse My Spunk” CD, your Dennis Most & the Instigators collection is more than adequately stocked. To further the thought, while i imagine, rightly or wrongly, that stuff from the 70’s like “Excuse My Spunk” and “Penetrate” might very well have bequeathed profound influence on the likes of GG Allin & The Jabbers, and while i also applaud the “let’s turn it up to 10!”sentiment of 2004’s “I’m Not Dead Yet,” anyone who doesn’t think that weak, white, “new wave” covers of ballsy classics like the Equals “Baby Come Back” were precisely what caused hardcore to invent itself in 1981 is sadly misinformed. However, i can say, with some conviction, that this is the first time i’ve ever reviewed anything containing a Bubblepuppy cover. Wheee! BEST SONG: “Penetrate” BEST SONG TITLE: “Don’t Take Me for Granted, Janet” FANTASTIC AMAZING TRIVIA FACT: Comes with a DVD of Dennis Most & Audiolove playing at Xavierian Bros. High School in 1976. The best part ((besides the Hollies cover)) is that they’re playing in front of a banner that clearly says “SASS.” –Rev. Norb (Dagger)

Instigate Me!!: CD
I wasn’t expecting much from this CD-R with no real artwork and very little information. What I was able to dig up on the interwebs is that Dennis Most is an old school punk rocker whose history playing music goes back to the 1970s, including with his band The Instigators. There are seven songs on here that come in at eighteen minutes, so nothing is wasted. All the tracks are direct and fun, mixing a combination of ‘70s punk with new wave. Keyboards are prevalent on many songs, leading me to think of a non-hectic, slowed down version of Le Shok, but the stripped down nature reminded me a little of GG Allin. None of the songs are overwhelmingly amazing but they’re still competent and inspiring, which is more than I can say for most of the stuff I get to review. –Kurt Morris (Self-released, dennismostinstigator.com)

Wire My Jaw: 7” EP
...and, in marked contrast to the essentially unessential CD, this is the loudest fucking 33 rpm 7-inch i’ve ever heard in my goddamned life. I dunno if he still has problems dressing himself, but SOMEBODY knew what they were doing when they popped this l’il black vinyl pit bull out of their rock’n’roll birth canal! Given a second 25 years to hone his craft, this guy might really be able to kick some ass in the future. BEST SONG: “Tough Break” BEST SONG TITLE: “Wire My Jaw” FANTASTIC AMAZING TRIVIA FACT: Band eschews band photo on sleeve for drawing of what appear to be either fish heads or the ends of rabbit-toenail clippers. –Rev. Norb (Bad Attitude!)

Wire My Jaw: CD
...at my long-running day gig, i work with a lot of band photos. Not “bands” in the sense of the band you’re in, or the bands you go to see, but bar bands. Cover bands. Lounge bands. Country bands. The Bands Of The Squares, Dude. As such, i’ve gained a true appreciation for the sublime beauty of unintentionally ludicrous band photos. Like, if you look at them long enough, a sort of assumed biography starts to take form: One invents a little story to go along with the picture (which is, of course, what those NYC abstractionists like Jackson Pollock hated the most about representational art). F’r instance, the short, athletic guy on the left with the mustache, tight jeans, folded arms and Mork-from-Ork suspenders is obviously the drummer, because he’s shorter and more muscular than everybody else; he also appears the most confident, because, what the fuck, his job is to drum, not to stand there looking cool, so what the fuck does he care, and, as a result of his disinterest in pursuing “coolness” as a visual aesthetic, comes off, ironically, looking the coolest (in the most restrictive use of the term). You can also tell he’s proud of being in the band, and looks down upon the other, less ambitious bands playing the circuit, for “playing the same old shit.” Of course, were he in one of the bands playing the Same Old Shit, he would look down upon the Instigators for being a bunch of impractical dreamers who were unjustly full of themselves. Drummers, ya know? The next guy in – the dude in the horizontally striped shirt (the photo was obviously taken in the late ‘70s, where, by law, exactly one member in any given band photo was required to be depicted in a horizontally-striped top at all times) – is obviously the guitar player, because he looks the most stoned and least communicative. It’s apparent that the guy just wants to play his guitar, and to be utilized in some manner where his guitar playing has some practical application as opposed to merely being an end in itself, noodling around in his room. He knows that people looking at him on stage is part of the deal, so he dresses the hippest – not out of any abiding desire to look flashy, but simply because he does not want people finding fault with his attire when they are watching him play his guitar. The third guy from the left is certainly Dennis Most himself, because you can tell this is the guy who’s most uptight about what he (and everyone else) looks like in the photo – it’s obvious he sat in front of the mirror for hours before the photo shoot, agonizing over exactly what buttons should go exactly where on his suitcoat, cuffing and uncuffing his pants legs (ended up cuffed. ERROR! ERROR!), and trying to work out poses that both appeared un-posed and utilized his “good” side (wherever that might be). As a result, he looks like a totally stiff, un-hip Rock Doofus. The Burt Reynolds/Print King October 1978 Employee Of The Month mustache doesn’t add much by way of Cool Points, either. The last guy is obviously the bass player, because he seems completely clueless. He realizes that he should somehow be “dressing cool” for the photo, but has absolutely no idea what that might entail, so he’s decked out in some platypus-like concoction of white painters’ pants (ya know, i spent the last twenty years never thinking about painters’ pants once; with any luck, it’ll be another twenty before i think of them again), a leather jacket, a button up shirt and some kinda pointy white buck shoes. He also realizes that the role he has been assigned suggests displaying a certain “attitude,” so he manifests kind of a confused grimace (my take is that he’s thinking “fuck, i should’ve kept on with the trombone and bagged the bass guitar, not vice versa!”), on the grounds that, well, it’s better than nothing, isn’t it? I mean, i could go on for about four pages analyzing the band photo, and never once even mention the music – and, once ya get down to the music, it’s about what y’d expect from looking at the band photo: It perfectly waddles the back-then-not-quite-as-delineated line between punk rock and rock rock – the Sacred and the Mundane – and winds up sounding not unlike a faster Dictators minus the Dictatorsisms (leaving you with what? Manifest Destiny?). The recordings on this disc span a quarter of a century; the earlier stuff sounds tinnier but more vital, the new stuff louder but more pointless. I don’t necessarily dislike it, but i’d be more than happy to swap the disc for an old promo 8x10 of the cover shot. BEST SONG: “Excuse My Spunk” BEST SONG TITLE: you know, it’s really hard to beat “ Excuse My Spunk” FANTASTIC AMAZING TRIVIA FACT: For a time, Dennis Most’s brother was in the band – alas, it wasn’t Donnie Most. –Rev. Norb (Archives/Dionysus)

Live at the El Cid, December 1976: CD
A live set from a proto-punk band who, if they weren’t from Detroit, should’ve been. KBD geeks will be all over this like ugly on a gorilla. –Jimmy Alvarado (Captain Trip)

Vampire City: CD
Ladies and gentlemen, look no further, the missing link between Dee Dee Ramone and Johnny Thunders has been found. –Jimmy Alvarado (Trash 2001)

Time for Biting: CD
Female-fronted pop punk is a touchy subject for a lot of people. How do you get around that one of the most obvious parts of their music is a female voice? It smacks of being a ghetto until bands like the Dents, the Soviettes, and Beautys come along and smash that shit to bits. The voices are just the starting point, not the finish line. I posit this: The Dents have recorded the album that the Eyeliners have been shooting for for the better part of a decade. This album’s filled with super-catchy songs that don’t all blend into one another. It’s sexy without relying on being cutesy, rockin’ without being bitchy or man-hating. Everything—from the recording, to the delivery, to the song structures—is clear, raucous, sonorous, and exciting. It’s one of those records where my favorite song has changed four times until I came to the conclusion of, “Why split hairs?” This record’s an amazing debut. –Todd Taylor (Abbey Lounge)

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

| 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|

< Prev Section | Next Section >

Razorcake Podcast Player


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.