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Below are some recently posted reviews.

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Bike Thief: 7”
There is a Native Nod influence that’s unavoidable to notice for me with Chemical Peel. That might come across as a slight to some people, but I think it’s a good thing here. It’s a very updated resemblance to Native Nod. There is a good mix of strained and spoken vocals, both male and female. Reverb-laden vocals and guitars. Barely any distortion on the guitar. The sound comes off as mature and confident. Four songs all kept short and not over indulgent where they could have been. My favorite track was the opener “Born to Kill.” It reminds me of a song that could be in an old Santa Cruz skate video.  –Adam Mullett (Ride The Snake)

A Million Hours: CD
This is pretty good mid-tempo pop rock. Well written, performed, and produced. Nothing jaw dropping or anything, but a good listen nonetheless.  –ty (Jump Start)

Magic Hour: LP
This here is some more kinda noisy, garage-y stuff from this fairly long running Nebraska band. Not as noisy as Lost Sounds or the Hunches and with a tuneful element that makes them stand out, Brimstone Howl really seem to have a lock on what they are doing. Anyone who picks up the majority of In The Red Records releases will probably love this band and this record.  –frame (Certified PR)

Halfway to Hell: CD
I’m not really a big fan of duo bands. I know these are all the rage with bands like The White Stripes and The Black Keys leading the movement. But as a bass player, I cry foul! But life goes on. These dudes are creepy and offer up fuzzed-up songs about death, murders, and murky swamps. If that’s your thing, then dive in.  –koepenick (Big Money)

Alexandrian Age: CD
This Dutch outfit has been active since 2000. But I’m going to go out on a limb here and say that they didn’t do a Yahoo search back then before picking a band name. There was a band with this same moniker in the ‘90s. These dudes are not the only ones. I see there is a new band with the same name reviewed in the last issue of this magazine, too. Bands, do your homework! But I digress. This band compares themselves to Social D and The Templars. I’m not a big fan of either of those bands. A couple songs here have some hooks. But there is also some extreme guitar solo noodling sprinkled in that made me hold my nose; too much to overcome.  –koepenick (Rebellion)

The First Seven Inches: Cassette
This cassette, as you might’ve guessed, combines two seven-inch singles. Both are straight-ahead, no-frills punk bashers, with a smattering of background keys and maybe a little bit more fuzz in the mix on side one—the band’s earlier stuff. The most noteworthy, and awesome, bit of this tape is the vocalist, who, depending on your ears, a) is singing actual words in a fake British accent b) is singing complete gibberish in a fake British accent interspersed with an occasional cuss or three, or c) has invented a new language specifically to be sung in this band. Me, I hope it’s “c.”  –Michael T. Fournier (Ut)

Partycrasher: CD
This is a band that I avoided for years because I didn’t like their annoying band name. I have lots of friends who are into them, but I can be stubborn about stupid things, so yeah. I’ve never heard any of their stuff until now. The verdict: Not bad. Melodic Fat Wreck-style ‘90s hardcore that brings to mind Death By Stereo or Propagandhi, but not quite as engaging. I can’t see myself listening to this very much, but I wouldn’t turn it off if it showed up on random or something. I still don’t like the band name.  –ty (No Idea)

Alive and Well: LP
There are so many wonderfully incongruent facets to this record. The music itself, when I think about it, doesn’t make sense. It’s catchy, melancholic punk, but there are these fucked up, fuzzed-out guitar parts that are totally grating in an almost Melvins-y kind of way, but really catchy riffs will bubble out of the fuzzmuck and it’s weird but somehow so right. Then there’s the album art, which doesn’t make sense for this music, but is such a perfect example of how to make a record so much more than the music. It’s essentially a wordless, six-panel, manga-inspired comic strip about a man whose fiancé turns into a mutant. It begins on the back side of the lyric sheet, continues on the front cover of the LP and then concludes, crushingly, on the back cover. Records like this are reminders of why downloading music is dumb.  –mp (Baldy Longhair)

Tape: Cassette
There’s taking yourself seriously, and there’s Taking Yourself Seriously. With more theatrical music, often the intention, and subsequent elevation to caps status, can become a stumbling block: if an audience spends too much time wondering about intention then the music can be obscured by the art of the thing (or, perhaps, The Art Of The Thing), you dig? Worried Mothers manage to deliver a well-played, highly performative set of diverse-yet-cohesive songs without tripping over themselves. The singer’s vocals are high-pitched and flamboyant, like that nineties band Placebo. This was certainly recorded on a budget, with all the requisite rawness, and hits in a well-organized blast in which everything is audible but it all kinda blurs around the edges for max effect. I dig the occasional keys, which punch through the mix. There’s occasional flat-out aggression, which provides a nice counterpoint to the more subdued numbers, some of which contain little melodic hooks which remind me of Guided By Voices.  –Michael T. Fournier (Doom Town)

Split: 7” EP
White Flag: I’m not gonna wax poetic about the recent death White Flag’s guitarist Bill Bartel (aka “Pat Fear”). Suffice to say some thought he was the bee’s knees, some would’ve loved to see his head mounted on a pike at various points during the last four decades. Though we shared common acquaintances and at one point even wrote for the same publication, I can’t say (at least with any certainty—again, suffice to say, a beer-saturated memory is highly unreliable) I never met the vato, so I can’t weigh in on either side of that conversation. I can, however, say, I did dig his band in its various permutations—piss-take pseudo-hardcore, pop, rock, and beyond—and the three tracks here serve as a fitting swan song, if it is, indeed, such. Two are loud punk/pop stompers with hook up the hoo-haw, and a third that sounds like it would also fit that description if it weren’t backwards. Shoplifters: Their poppy rock thang ain’t quite my bag o’ worms, but I can appreciate the work they put into crafting the two tunes they contribute here, with “Carnivore Heart” being the more peppier, and more memorable of the two. Don’t envy ‘em sharing this split, but they do their best to hold their own.  –jimmy (Rad Girlfriend)

“(Join The) Hate Wave” b/w “Captivity”: 7”
I am sadly late to the Hate Wave and should pay for my mistake. Woe unto me for sleeping on this band! What the fuck is it about Denton, Texas that so many good bands burst forth, seemingly fully formed, from there? And what the fuck is it about Total Punk? They really should use the slogan “Home of the Hits” because, yeah. “(Join The) Hate Wave” is throbbing, stabbing punk with a flange/phaser effect that kind of makes me feel drunk. Like that fine line between gloriously shitfaced and room-spinning nausea. I don’t know how else to say it. “Captivity” is hypnotic and driving. Also, my girlfriend likes this song, and she really does not like most of what I listen to.  –Sal Lucci (Total Punk)

“(Join The) Hate Wave” b/w “Captivity”: 7”
TV’s Daniel can do no wrong in my opinion. He plays in some of my favorite bands (Mind Spiders, Bad Sports, and High Tension Wires) and now unleashes this upon me. Video is somehow engaging yet off-putting at the same time. Mean with a smile on its face. Although they don’t sound like them all that much, I keep thinking about The Spits or The Girls or even The Stitches when I hear this. I hear there is an LP out there that I’m going to have to hunt down. This is damn good! –ty (Total Punk)

Self-titled: 12” EP + DVD
The legends and horror stories about this notorious L.A. proto-hardcore band still reverberate through the county’s underground, yet precious few of those tales are in direct reference to their music itself. The simple answer is that previous to this release, they had nothing tangible the great unwashed could get their grimy paws on. What’s been finally unearthed—essentially two garage rehearsal recordings—showcases a band worth the discussion three-plus decades later. It’s no doubt rough listening for modern ears attuned to even demos ProTooled into oblivion, but it’s nonetheless surprisingly clear considering the source, with the vocals being the only thing really getting lost now and again in the mix. The songs themselves (including a cover of Eater’s “Get Raped” and a version of “Cover Girls,” a version of which was recorded and later released on Posh Boy by guitarist Steve Houston’s next band, The Klan) are for the most part straightforward late-’70s suburban L.A. punk, yet if one listens close, echoes of ideas and rhythmic explorations that would later be explored by TSOL bubble just under the hail of barre chords. Vocalist/lead agitator Jack Grisham offers some historical context in a DVD interview included with the vinyl. In all, a nice addition to the underground’s historical record.  –jimmy (TKO)

I Can’t Get Out: 7”
Right off the bat, there are six songs on this 7”. That usually means I’m in for something really fast, and I was. Fast, fuzzed-out (a bit crusty perhaps?) hardcore punk rock. Unrelenting in both musical and vocal delivery. Really impressive. Here is the part I feel strange about. If the vocals had been delivered by a guy with one of the two seemingly requisite hardcore vocal styles these days (a. Deep, gruff angry Muppet or b. High pitched, vocal cord-shearing screech) I probably would have disliked it. Instead, Varix is comprised of women, and the vocals are fast, a tad screeched, and fully urgent. It works for me. Is it some kind of double standard? Maybe, but I like what I like. This is a great record. I’ve also got to mention the amazing DIY packaging. Beautiful hand screened cover and lyric sheet. Nice work everyone!  –ty (Fashionable Idiots)

Cooler Than Ice, Arctic Records and the Rise of Philly Soul: 6 x CD, 6 x 7”
I’m consistently amazed at the amount of really good ‘60s and ‘70s soul music that has resurfaced in recent years. If you’ve been fortunate enough to get a hold of any of the Eccentric Soul comps from the Numero Group then, hopefully, you’ll know what I’m talking about. If you haven’t been so fortunate, then bear with me. Like so many of the best movements in art and music, most soul music was organic and, thus, many artists, labels, and producers tended to their own insular styles that were tied to the geography; “scenes” if you will. Berry Gordy and The Funk Brothers developed the “Motown Sound” to astounding commercial success. The music that came out of Stax Records in Memphis owed much of its identity to the unique working studio arrangement and house band, Booker T and The M.G.’s. Across town at Hi Records, Willie Mitchell developed a unique and unmistakable production style that would be the hallmark of Al Green and O.V. Wright’s recordings. This brings us to the story of Jimmy Bishop and Arctic Records. Arctic Records was one of the earliest and most important soul labels in the City of Brotherly Love. Founded by Bishop, a DJ for WDAS in Philadelphia, Arctic released over fifty singles between 1964 and 1971 and this box set contains all of them. Only a handful of these songs met with any commercial success; “Yes, I’m Ready” by Barbara Mason probably being the most successful (and recognizable) song in the collection. The name Della Humphrey may also be familiar to some soul music aficionados and an early single by Harold Melvin & The Blue Notes, who would go on to great success in the seventies, is also included in this collection. But while hardly any of the names listed in this box set are recognizable to anyone except perhaps the most formidable of music nerds, some of these artists would later become noteworthy fixtures of popular music in the seventies, e.g. Kenny Gamble (who would become part of the famed songwriting and producing team of Gamble and Huff), The Volcanos (whose members would go on to play in The Trammps) and The Temptones (featuring a young singer named Daryl Hohl who would go on to considerable fame after changing the spelling of his last name to “Hall” and teaming up with a guitar player named John Oates). Despite all of these interesting tidbits, what really stands out in this collection is the music: six CDs and six 7” records full of great songwriting, heartfelt vocal performances, rock solid rhythm sections, well-placed horn and string arrangements, and gospel style call and response backups. This is late sixties soul at its finest. I find it hard to believe that some of these songs didn’t meet with more commercial success at the time. Singles featured by Kenny Hamber, Winfield Parker, Billy Floyd, and other artists I’ve already mentioned are easily as good as anything that was around at that time. Tragically, Arctic did not make much of a long-lasting impact outside of Philly and closed up shop. As a result, most of the music on this collection has been out-of-print for decades. The packaging for this release is extensive and includes almost fifty pages of liner notes with details on each of the recordings and the associated artists. It would’ve been nice if this collection was modular, rather than bound in the book-like format in which it was produced, but that’s just nitpicking isn’t it? While this collection is highly recommended for the ardent soul music fan, it may be a bit much for the casual listener. It would be nice if Jamie/Guyden were to consider another release that distills down the most noteworthy tracks to a single CD/LP compilation. A move like that may go a long way towards spreading the word on some great music that has been far too obscure for far too long. –Russ Van Cleave  –Guest Contributor (Jamie/Guyden)

Demo: Split: CD-R
So is Uh-Oh’s In Paradise the project of Uh-Oh in the way Slash’s Snakepit is pretty much Slash’s deal or is it just a misspelling? If so, I would suggest Uh-Oh ditch the bongo player, ‘cause that shit is annoying and he doesn’t really need the awful keyboards or whatever it is making that shrill “EEEE” sound either. This lonely Midwestern punk singer-songwriter should do himself a favor and just strum his guitar while singing his songs and cut out all the extra shit. The songs ain’t bad. They’re often self-deprecating and funny. For instance, when I saw there was a song called “Blue Balls” I thought, that damn well better be about blue balls and not just some clever title trickery. Well, it wasn’t exactly the direct noun but I was satisfied with its placement in a song about being brokenhearted and not scoring. Sly Eugene has a much stronger voice, a better recording, and less of the horrible keyboard and bongos (unfortunately, they both come in on track eleven, “Care Free”). His second song is Billy Bragg’s “To Have and to Have Not.” It’s strummed acoustically like a traditional folk song, which is cool to hear after years of appreciating Bragg’s version with its plugged-in and reverbed-out electric guitar. Otherwise, like Uh-Oh’s In Paradise, you get a sampling of songs from a talented young songwriter. Sly plays a mean harmonica, to boot. I’m not saying that this is great—the bongos severely hamper all listenability—but if a demo is supposed to show potential, it’s certainly here. I hope they stick with it and I hope they get out of LaFontaine, Indiana, too. –Craven Rock (Joe Savarino)

Split: 7”
Two Man Advantage has been around for over fifteen years, wear hockey masks at shows, got written up in the Wall Street Journal in an article about “puck rock,” were ceased and desisted by the Zamboni company, and as of October’s split with Blackout Shoppers, they’ve “got the puck [and] don’t give a fuck.” For the uninitiated, Two Man Advantage play NY punk hardcore with occasional butt-rock guitar solos and ‘80s glam-metal guitar harmonies. For me, I seek more adequate descriptors for this group and I fail to find them. I see Two Man Advantage like I see that really weird model train set bar at the end of my street; it’s too fucking weird to drink at every weekend, but that doesn’t stop me from staring at it with wonder. If you liked Two Man Advantage before, it’s only getting weirder and stronger. If you’ve never heard of them, it’s like Crystal Pepsi —not quite right, but you’re rooting for it. On the B-side, Blackout Shoppers bring a bit of Negative Approach and a bit of the standard beer dripping bar punk. This 7” comes in a milky blue vinyl, keeping it strange.  –Jim Joyce (Sexy Baby)

Midget Made Giant: CD
Sprawling, unfocused jam band hip-hop that feels like it could only come from a liberal arts college in a medium-sized town. A friend of mine recently trademarked the phrase The Right Kind of Weird. Try Hardz would be The Wrong Kind of Weird. Or, I don’t know, it’s like they’ve created a subgenre that’s literally just hyphens. They put every type of music together—folk, funk, rap, jazz, outré electronics, you name it. I could say it’s in the same vein as cLOUDDEAD/Why?/Anticon stuff, but that’s being very generous. The ambition’s there, the experimental sensibilities are there, the weed is there. But the songs are often incoherent, the production is demo-quality, and the rhymes are objectively terrible. I kept thinking of a Mark Ronson/Kanye West interview I read years ago where one of them said something to the effect of, “When they say there’s ‘something for everyone,’ it means there’s nothing for anyone.”  –Matt Werts (Fauxtown)

Self-titled: LP
Death rock out of Olympia, which seems to have a lot of good bands lately (I say this because the last time I remember bands coming out of Olympia, it was of the K Records variety, and that was a pretty patchy quality run of bands). Transfix consist of members from Gag, Family Stoned, and Love Interest. Anyway, back to the record that is spinning on my turntable to the right of me. Transfix play the dark and sometimes ethereal stuff that runs from very English-sounding stuff, like the opener “Bad Trip,” and on to the semi raw and tweaked oddness of “New Fix,” “Living,” and “Youth in Decline” (which has a rehearsal tape quality about it). “Fix Tomorrow” is one of my favorites on here. There’s a decidedly dreary tone musically and lyrically, and the guitar reminds me of the Cure between their first album and The Top. I like the ending to “Slip Away” that sounds like it’s a totally different song and out of left field. Makes for a somber ending to the first side. I’m definitely a fan of the current interest in the death rock / goth sound from new bands, and this is a record I know I will still listen to years down the road.  –Matt Average (Dutch Tilt)

“She’s Drunk All the Time” b/w “Tulare”: 7”
The mumbling guy from the Transplants sings over a guitar, mandolin, accordion, banjo, and a dobro (whatever the fuck that is) on two songs. Unless dude has put out more mickey mouse bluegrass, this one’s a clear departure from his previous efforts in all ways but quality. You’ve probably gathered that this record is pretty bad. Or maybe not, as you people keep buying this fella’s records despite the fact that the descriptions alone of the last few things this guy has done should have brought death to even his vanity label releases. It’s a small wonder.  –Vincent Battilana (Hellcat / Pirates Press)

Piinaavanautinto: 7” EP
Hard to wrap the ol’ noggin around the fact that these cats are well into their fourth decade of existence, but facts is facts. Not that you could guess that from what’s on this disc. Noooohoho, every thrashy groove of this bleeds, lashes, and slashes with the best of anything they put out thirty years ago, while also teaching ye that sometimes a barrage of rabbit punches is more potent than a prolonged pummeling. Nice to hear new fjordcore from one of its finest purveyors on the planet.  –jimmy (SPHC)

Get More Action: LP/Five Covers: LP / EP
The long lost original recordings of the classic (and I never use that descriptor) garage punk LP Get Action. Plus some modern day additions and tweaking, but I’ll come back to that later, or not. What’s the difference between Get Action and the Get More... album? Some songs, for one (apparently “1979” was written in the two to three weeks between recording sessions.) Get More... is less trebly and has a little more low-end presence. The vocals are a little less blown out, so you can really hear Fink’s Saints-like delivery. Also, the playing is a hair or two slower on Get More....Five Covers comes from the same recording sessions. I’ll still never understand how Teengenerate figured out the words to The Pagans’ “Six and Change.” I’ve listened to The Pagans’ version like a million times and I can’t figure it out. That song and The Queers’ “Kicked out of the Webelos” are absent from Get More.... Also absent is a certain opening line from a certain above-mentioned cover. Don’t know if that’s how the Five Covers version was recorded or if it was deleted for posterity.  –Sal Lucci (Crypt)

Cold Hearted Town: LP
The Taxpayers are an American band. The America you find in the lure of the bayou. Kudzu-covered mansions. The devil at the crossroads. Headless horsemen. Roadside carnivals. The Air-conditioned Nightmare. The America that’s mysterious, unrestrained, and cruel. Cold Hearted Town sounds like Tom Waits on sketchy drugs. A baritone saxophone makes it a record as heavy as a steam engine: pummeling, oppressive, and right on time. Tenor sax, trumpet, banjo, and accordion whirl around the precision rhythms like fireflies, flickering in and out. Haunting, luminous, organic. It’s jazz played in punk’s backyard. It’s like drinking an expensive amaretto out of a dirty peanut butter jar. The guitars alternate from acoustic tones dryer than scotch and meandering slide riffage that sounds like someone playing an AM radio dial through a distortion pedal. Rob’s vocal delivery oscillates between the fervor of a street corner preacher and the avouchmentsof somebody who thinks no one is listening. With fire and abandon. Think the Reverend Gary Davis with espresso in his veins instead of blood. The back of the record tells a story about how Rob bought a book of incantations in New Orleans and went to write the album in an abandoned house. I won’t give the story away, but I will tell you that he spills his blood. The lyrics reflect the story. Satan speaks in the song “Plant Oak,” telling the narrator, “You know the answer, you know what to do: Link hands, lie down, and tie rope. By the full moon and black skies, plant oak.” Highly, highly fucking recommended.  –Matthew Hart (Useless State, useless-state.com / Plan-It X, plan-it-x.com)

“Willy” b/w “Can We Get Together?”: 7”
Figured this was gonna be some art damaged shit, but you know how it goes, books and covers and all that. What we have is a solo project by SF local Chris McVicker, although I think it could be a functioning band now. Tremendous power pop like the bastard sons of the Real Kids or local faves Cocktails, straddling the line perfectly between sugary pop and tough punk. The production is top notch and the guitars shimmer like some of the U.K.’s C86 bands or even the Wedding Present. More fool me for not hearing them before; definitely won’t miss other releases.  –Tim Brooks (Divis And Mason)

Used to Be Beautiful: LP
Remember ten or so years ago when Snuffy Smiles was churning out bands that were digesting the current trends of U.S. punk and spitting them back out with added Japanese flair, many times even surpassing the original sounds? Suspicious Beasts carries on this tradition sans the Snuffy Smiles label, instead opting for a German label release. I don’t see any band ever surpassing Reigning Sound doing what they do, but throw some Too Much Guitar and Teengenerate together, add a dash of rock’n’roll swagger, and you’ve got a record destined to find its way on to the repeat stack.  –Matt Seward (Alien Snatch!)

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