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Below are some recently posted reviews.

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Self-titled: 7”
Really great, straight-ahead, driving punk songs. Three dudes who know how to bring it. Dual vocals on a lot of it, which I really like. “Weirdo” reminds me of The Briefs. And I love that band. Very catchy shit you can dance to. –Nighthawk (Rad Girlfriend / No Breaks)

The Thorns: 7” EP
A marriage of gothic gloom, shoegazey echo ‘n’ howl, and the more experimental of the early skronk-punk tribe. Oddly catchy, they somehow get their hooks into you and drag you down a dark road you ain’t really sure you wanna go, but end up all the better for it. This would’ve easily fit into Subterranean’s “classic” catalogue thirty years ago, which is no small compliment. –jimmy (HoZac)

Krawedz: LP
Not to be confused with the Boston band with the same name. This band from Poland is on their fifth full length and they still have not become stagnant. From the first time I heard this band to now, this band still holds the appeal right from the first listen. They have the power, charge, and delivery of hardcore but the underlying punk melody of the songs is what keeps my attention. Also, the vocals of singer Anka is very distinct. Her delivery has so much force with her screams, yet she has the control to express the emotion of the songs. Guitars in the foreground provide a precision attack that leads the charge. I like the punchier sound of the bass this time around. It compliments the guitars well yet still stands out on its own. The drummer is on spot with heavy hitting, quick kick pedals and hard accents on the cymbals. They’re a band that I hope some day will tour the West Coast so I can experience this live. One of a small list of bands that I can listen to from start to finish and not get bored half way through. It gets my blood pumping. This will get multiple listens frequently. –don (Pasazer)

Split: LP
This record is a bonafide masterpiece of epic doom. Both bands deliver some impeccable music here. Seriously, one of the best I’ve ever heard of this genre. Enth come on with the heavy riff that lumbers and lurches. Sounds ooze and float in the din. Every hit from the drummer is pronounced, thought not bludgeoning. What makes this song great is how the piano comes in behind a crunching and noisy break, and the vocals change from throaty growls to spoken and sort of in the background. This is actually heavier than the rest of the song. The mood grows more cold and forlorn—the viola at the end stays with you long after the record is over. Amarok are along the same lines, maybe a little bit slower and more brooding. Focus on the music and you will find yourself moving in time, as though you’re banging your head in slow motion. Three vocalists, and usually that’s overkill, but here it works. The guitars create this sound that hangs in the air like dark storm clouds off in the distance. Every hit on the drums is deliberate. The vocalists stretch the words out then compress them into deep, corrosive growls. Very hypnotic listening. –Matt Average (Halo Of Flies, haloffliesrecords.com)

“Disaster” b/w “Face Don’t Fit” + “Not Talking Anymore”: 7”EP
I can’t be the first to think that Sacramento and ChristchurchNew Zealand could be sister musical cities. Both Flying Nun and Squirmy have the pulse of jittery, crackling, minimal-yet-full pop. If this was the ‘60s, it’d be incredibly popular. That pop—popular pop. (Not the 2010s robot-voice recorder pop.) If this was the ‘90s, it’d be sporting a K inside a shield logo. For fans of Knock Knock, Nar, Bright Ideas, and the Bananas’ love songs about not fitting in and not giving a fuck. Silkscreened on a white dust jacket. Classy and highly recommended. –todd (Squirmy, englishsingles@gmail.com)

Cashed: Cassette
The bowl might be cashed... but there’s plenty of wine, er, whine left. –Craven (Let’s Pretend)

Champions at Heart: CD
Sometimes a band stays together long enough—where a new release exceeds all expectations, not only the band’s but the fans as well. This new record by this long-running rock band proves that in 2012, that is still possible. I could tell you how “New Song” has a slick Fugazi-like riff underneath it that propels the song to the end. Or how “Face Forward” is fast and furious. Maybe how the lyrics of “Knock This Town” pretty much knocked the wind out of me as I tried to finish this review—“this town can be a prison/but this town is my home/in the sea of sameness/I don’t feel like the rest/even if I want to fit in/I know I’ll fail the test.” Even that “Warriors United” tosses out some cool Big Country riffs with ease. I should also mention that sonically this gets an A+ as well. Bill Stevenson and Derek O’Brien know their stuff and can twiddle the knobs like no one else. I could talk about every song on this bad boy. But know that if you love melodic punk rock, then you need to own Champions at Heart. Put any pre-conceived notions you may have of DBL in the trash can and treat yourself to this one. I’m sure when Lemmy hears this, he will say, “Down By Law—they play rock and roll!” –koepenick (DC Jam)

Vices: CD
Man, so many people are loving this band. There’s no way you can please everybody, but here’s what I’m hearing personally: Vices has a more than passing similarity to Make Sound-era Copyrights, if ye ask me, if a bit brighter (they’ve one guitarist versus two), as well as being more nimble and a bit more frantic. (I know the bands have done a split together, and I’m sure they’re sick of the comparison. Sorry, guys.) Vices is also a clear continuation of their previous records. The songs are lean and wire-tight, the lyrics—a big plus in my book—are literate and whip-smart and snagged with more than a little doubt and self-loathing. Ten songs, with not of them one over the three-minute mark (and many of them closer to one). It’s a concise album, no fat on it, with just the right tinge of desperation that, if it’s not intentional, is a hell of a lucky mistake. Nice work. –keith (It’s Alive)

Slow to Build: LP
Three-piece from Olympia with two women up front, layering on perfect punk wails. Just the right fuzzy bass tone and dingy guitar, like wet leaves on the ground in the woods. And when it gears up, goddamn, it’s like taking off running, or feeling your hair blow backwards. To call this wild would make it sound feral and sloppy; to call it free would make it sound too airy. All I can say is that it has a certain intangible something that makes mixing late ‘80s Northwestern punk with early 2000s hippie crust sound new, exciting, and real –CT Terry (Rumbletowne, rumbletowne.com)

Kill from the Heart: CD
Anger. Rage. Open hostility to intolerance. Explicitly red. Anti-pig (bourgeois and cop). Lots and lots of pigs and daddies. In the small group of unassailable punk bands that would be difficult to co-opt (lyrically, at least; it’s still amazingly catchy), The Dicks stand in tutus at the top of the heap. Apologies, they have none. Enemies of statism, racism, homophobia, but willing and able to fight with fists and knives, the Dicks weren’t a posture. They were resistance. To make and play this music in one of America’s dark hearts in Texas in the late ‘70s-early ‘80s, flamboyantly and unapologetically, is still pretty unbelievable. I don’t say this lightly: Dicks, one of the best punk bands ever. Kill from the Heart, one of the best punk records ever. And a Jimi Hendrix cover. And the songs aren’t listed in quite the right order. And the Hate the Police EP’s included. And you don’t have to pay multiple hundreds for it? Perfect. Buy this and Big Boys (either of the Elvises and Wreck Collection) and you’ve got some heavy antidotes to the couple dumpsters of shit headed your way, COD. A welcome re-reissue. –todd (Alternative Tentacles, alternativetentacles.com)

Hate the Police: 7”
This isn’t up for debate and discussion: The Dicks are punk perfection. Fuck your rules, fuck your scene, and fuck your narrow-minded preconceptions. The Ramones are my favorite band ever, and The Dicks make me think: fuck The Ramones. These tracks are absolute classics. Being weird and being punk should be synonymous, and you shouldn’t necessarily be proud of that, but don’t let anyone knock you down because of it. The Dicks and The Big Boys are all about being weird and not letting all the assholes around you make you feel bad because of it. Get crazy, get weird, and listen to The Dicks as much as humanly possible. –Daryl Gussin (1-2-3-4 Go!)

All Things Must Kick Ass: Cassette
These five dudes from Chicago don’t disappoint. This tape most definitely kicks ass. The songs are fast and the lyrics are dumb. So if you’re into that stuff, buy this tape! The two guitars and the bass move frantically up and down the neck while the drums pound away with a full and active style. The vocals remind me a little bit of Jello Biafra. That’s a compliment, of course. The songs are about such awesome shit as comparing the two Predator movies, junk mail, being a sexual panther, having dangerous balls, and the Punisher. There are even two songs about the Wolfman! Tight shit. These same songs are also available on a vinyl LP, available on Lucky Gator Records. Tape or record, you pick. –Nighthawk (Let’s Pretend)

Self-titled: 12” EP
Well, it appears Vic Bondi has had enough with the way shit’s goin’ down in today’s world, and he’s recruited members of Rise Against, Alkaline Trio, and The Bomb to release an EP of white-hot hardcore to vent his outrage. The tuneage is some of the most straightforward hardcore he’s been involved with in a good while, zippy and rife with righteous anger about all sorts of timely topics—extremism, corporate malfeasance, and the class war that no one wants to admit is happening. Comparisons to Articles Of Faith are inevitable. The similarities are likewise unavoidable—considering he was that band’s frontman—but what’s here easily stands firmly on its own and raises the bar a bit for those still more worried about pissing off the label or the number of units shifted instead of making a point, challenging the status quo, and pissing off people who desperately need it. It also jams a rigid finger in the eye of punkers both old and young who beat their chests and whine that “punk sucks now and was so much better in ____....” Get with the program, kid. Crucial shit is happening in your world right now, bands right now are cranking out some important stuff, and you’re missing it all by perpetually living in the rearview mirror. –jimmy (Alternative Tentacles)

Ecstatic Vision: LP
In 2010, David and Christine Wolf had to replace the equipment that was stolen when their Chicago house was broken into. They wound up building a home studio, where their band Daylight Robbery recorded their gritty second album, Ecstatic Vision, on a Tascam 38 tape recorder. The album’s lyrics come from people balancing adult responsibilities with playing in a DIY band; rebuilding while sorting out memories and trying not to dwell in the past; asking questions like, “What’s the point?” and “Where do we go from here?” While the lyrics are taking stock, the music pushes forward, vibrant, faster, urgent, with David and Christine both sounding more confident and engaged on the mic. Like their first album, Through the Confusion, Ecstatic Vision has ten songs, but it’s five minutes shorter, wrapping up after twenty-eight minutes with the choppy, jolting “Grassroots,” one of the few new songs that hasn’t jettisoned the band’s new wave influence for spacious, propulsive Australian garage like Radio Birdman or Eddy Current Suppression Ring. It’s not that Daylight Robbery sound like a different band, it’s that they’ve avoided the “same thing, not as exciting” sophomore trap by putting out a record that is rawer and punker, the live-to-tape closeness (and muffled drums) making it easy to mistake for the lost demos of some awesome L.A. by way of Australia band, circa 1979. A retooled dynamic compensates for the downgrade in fidelity. In this claustrophobic recording, the guitar parts have a stronger delineation between riffs and leads, and the band creates the signature space between David’s dark, desert/surf leads and the counting-trees-flying-by-on-the-highway momentum of Christine’s bass and Jeff’s drums by minimizing overdubs. If Confusion was the sound of running down the middle of a dark street, trying to gauge the closeness of your pursuer’s footsteps over the pounding of your heart, Vision is peeking out of a gangway, panting, knife pulled, hoping that the person chasing you runs past. Keep fighting, Daylight Robbery. –CT Terry (Residue, residue-records.com)

Here Come the Cars: LP
David Kilgour is best known for his work with the Clean, one of New Zealand’s finest exports. Over the past twenty years he’s also released a slew of solo records. Here Come the Cars is a reissue of his first, originally released in 1991. The record opens modestly; the title track barely dips its toes in the water. It’s acoustic and sloooow and has only a trace of drums—but be patient, the payoff is coming. We’re up to our collective waist with “Fine,” which picks up the pace and has a more immediate hook. But it’s a bit like ocean water on the belly; it’s refreshing but you’re aware of it, thinking about it, awaiting more. That comes with the next tracks, three perfect pop songs that wash over you. The rhythm section pushes the tempos. Kilgour mixes in more electric guitars and the songs flow seamlessly. The closing track loops back to the feel of the opener and it’s only then that you’ll realize that you haven’t been able to touch the bottom for awhile. Side two is nearly as good. If the Clean’s Anthology set left you wanting more, Here Come the Cars is worth a day at the beach. –Mike Faloon (De Stijl, destijlrecs.com)

Beast for Love: CD
Imagine a second-rate Sinatra crooning over backwoods banjo and fantasy flute. That’s just the first thirty seconds. If you can make it through that—one of the weirdest and simplest intros ever concocted—you’ll be rewarded with a brand of retro rock’n’roll that can only be described as epic. Each song is a treacherously beautiful world populated with bizarre sax solos, synthesized insanity, rumbling bass, gyrating guitar, and more fucking banjo. Banjo? What the fuck? In this world lurk zombie mommies, Transylvania girls, and side-by-side covers of “I Put a Spell on You” and “Take a Walk on the Wild Side.” This is topped off with an amazing cover by the great James O’Barr, creator of the Crow, whose art makes far too few appearances these days. –mp (Lakeshore)

Machine Gun Etiquette: LP
A reissue of this venerable U.K. punk band’s third album, their first without original guitarist Brian James, and a dual triumphant return to form and jumping off point for the sonic excursions they’d take for the bulk of their career. Straight ahead punker fodder like “Love Song,” Noise Noise Noise,” and “Anti-Pop” is paired with the proto-goth of “Plan 9 Channel 7,” the quasi-psych of “These Hands,” and the just-plain-brilliant “Smash It Up.” The label’s site says this has been remastered and is in hand-numbered limited edition batches of five hundred in 180 gram vinyl and five hundred in blue vinyl (well, 499, ‘cause this copy here is spoken for), so start huntin’. –jimmy (Drastic Plastic)

Pokonac Samego Siebie: LP
Three vocalists? Three guitar players? Since I don’t read the Polish language, I’m wondering if they are mentioning a guest artist or two. That is one big crew and a lot of gear you would have to put in the van! From a quick search I have found that this band was in existence from 1991-1994 and then reformed in 2011. They are credited as being one of the first straight edge bands in Poland. Musically, a majority of the songs have that East Coast sound in the vein of Youth Of Today or Gorilla Biscuits. It’s more straight forward punk and less of the metal guitar sound. I think people classify it now as the 1988 sound of hardcore. I find this sound way more enjoyable in the long run than the modern hardcore bands. Maybe it’s my old age showing, but the music is more palatable for longer listening. But, mixed in, some of the songs are more of the modern hardcore variety with the heavy riffing and gang vocals. The different tempos add to the diversity of the record. If you are into the hardcore/straight edge, this should be put on your want list. –don (Pasazer)

Daddy Issues: CD
Through the decades of rock’n’roll, there have been countless songs about living hard with the help of booze and multiple outrageous sexcapades, primarily written by the male populous. Until now. This NYC-based outfit is comprised with a triple-whammy of super singin’ gals—E-Bomb, Mame-Town, and J-Train—and their four fabulous Faggettes holding down the rhythm section, guitar, and keys (quite fuckin’ nicely, I might add). Without at all being derivative, C&TF celebrate the spirit of singing groups like The Shangri-Las and The Ronettes coupled with the rollicking purr of bands like Throw Rag, Mad Daddys, and the Ramones. This is the band that Phil Spector would literally have gone apeshit over, had they been on the scene back then some fifty years ago. But lucky you, you derelict rock’n’roller you, you get to hear them NOW. “You Taste like Intervention,” “The Toxic Shock,” “New York Girls,” “Daddy Issues”—this rekkid is packed to the gills with tunes laced with incredibly catchy hooks, sang with the filthiest of lyrics guaranteed to make even the creepiest of creeps smirk. Rock out with your cock/rack out, indeed! One of my fave albums this year. I am very much looking forward to eventually catching C&TF live. –dale (Drug Front)

Take It Easy, but Take It: LP
The songs on this record come across as pop punk with hints of power pop influence sewed in. While the songs are pretty rockin’, the pace of this record does not change much. The quality of the singer’s voice and the jumpier rock riffs remind me of The Exploding Hearts. This record would be a good choice for fans thereof. –Billups Allen (FDH)

“No Other” b/w “Straight Down” and Landmark : 7” and CDEP

My appreciation for The Crowd runs deep. From the

Beach Blvd.
comp to A World Apart in 1981 through Big Fish Stories, Letter Bomb, and the quiver of Hostage singles in the late ‘90s and early 2000s, to …Goes Wild! they continue to have a great, prolific run. The Modern Machines named their band after one of The Crowd’s songs. It’s a well-substantiated rumor that their frontman Jim Decker danced the first HB strut, which quickly morphed into slam dancing. The Crowd were the first day glo punks, merging the HB-tough surf crowd of TSOL to the we’re-not-so-serious-but-we’re-not-a-joke musicianship of the Dickies. They live in OrangeCounty. Not “The OC.” So, if this is your first exposure to the band, I have a caveat. Remember the first time you heard the Dead Kennedys or Cypress Hill? It almost sounds like a cartoon character fronting the band, right? But it’s just someone with a unique voice giving it their all.  The 7” is a deluxe Record Store Day boondoggle: colored vinyl, Japanese-style wraparound insert, credit-card-looking download code, and the first record I can remember having the printing run printed on the record’s label itself. The CDEP is a six-song slimcase affair that the band put out on their own imprint, Crowd Control. Both are well worth your time.


–todd (Hostage, hostagerecords.com / Crowd Control)

Cold Thought: 12”
After an impressive demo and 7”, Seattle’s Criminal Code unveil a 12” of their triumphant take on early Killing Joke-influenced mid-paced punk. Catchy, though not at all poppy, Criminal Code keeps things interesting by incorporating a unique guitar sound into a style of punk that is all too often just basic and stale. The Northwest has been very generous with talent as of late and Criminal Code is no exception. Recommended. –Juan Espinosa (Inimical)

Self-titled: 12” EP
Heard a lot about this band. All of it good. It’s warranted. The lyric sheet says in large letters “NYHC,” but I also hear a lot of Boston influence in there (as well as some Blitz). In particular, Negative FX. Maybe if you took Neg FX and mixed them up with some SFA and Sheer Terror, you would get Creem. The sound is tough without resorting to any metal breakdowns or the usual tricks that lesser bands utilize. I like how the guitar sounds—sharp and tinny—yet there’s the gritty distortion that gets in your ears and holds your attention while the drums punch holes in the walls. The vocals are somewhat drill sergeant, but not delivered in the usual rapid fire way. More of a spoken way. This is pure hardcore, not thrash. Songs are more on the mid tempo side, with some speedy parts, but it never becomes a dull blur. Doing so allows them to hit harder and leave a lasting impact. “Dweller” is a nice cooker, with the bass up front, rumbling and building, while everything else crashes behind it. My favorite on here is “The Bricks” which starts off with a heavy oi influence, then picks up the pace and puts a little extra fire in the sound. The whole second side is awesome (the whole record is pretty good, but it’s the second side that really stopped me dead for the duration). The cover of Black Easter’s “What the Fuck” is pretty damn good. I’m going to see these guys in a few days and I anticipate it to be one of the highlights of this summer. –Matt Average (Katorga Works, katorgaworks.com / Deranged, derangedrecords.com)

Split: 7”
The Credentials: One of my original complaints about The Credentials (on their first LP) was that while, sure, their brand of scrappy punk that took cues from ‘90s Bay Area bands like Crimpshrine and Fifteen in addition to peers like Witches With Dicks was pleasant enough, it wasn’t particularly memorable. I took that record off the turntable and immediately forgot how any of the songs I had just heard went. But, as it often goes, it seemed that the band got stronger and stronger with each release. And this, their final release, is probably their best batch of songs. Too bad, as their trajectory leads me to believe they would have continued to grow by leaps and bounds had they stuck together. Aw well. Steelhorse: Poorly recorded (though I’m totally not complaining) punk rock. The first song reminds me of old Against Me! while the second is a bit more mid-tempo and “gruff.” Overall, a solid release worth seeking out. –Chris Mason (Rad Girlfriend / Mindless)

Cola Shock Kids: 7”
“Cola Shock Kids” is a potent bit of power pop recalling all the best ‘70s tunes that frustratingly never got radio airplay, all handclaps and wicked hooks. The flip adds some acoustic guitar ‘n’ slows the tempo down a hair, but keeps the hooks raining down. –jimmy (HoZac)

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