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Below are some recently posted reviews.

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J.C. SATAN:
Hell Death Samba: CD
A little psychedelic, a little bit of the Pixies, a little bit of garage... J.C. Satan combine a lot of influences to create something new. The results are mixed. There are a lot of okay songs, then there are some pretty good songs, such as “In the Light,” which sounds like nothing else on the record. It has this late night, underwater, psychedelic dream sound that pulls you in more and more as it goes—to the point where you don’t want it to end. Then they hit you with the cold water blast of “Crystal Snake,” which picks up the pace considerably with some stop-go noise blasts and distorted vocals. The vocals are at their best when they’re straighter forward, and even better when they trade back and forth, like on “Misunderstood.” I’m finding myself preferring the songs where Paula leads to be the best, like “Abandon” and “Close to Me.” This is a decent album, and one that requires you to spend some time with it, discovering its many facets. –Matt Average (Slovenly, slovenly.com)


ILLS, THE:
I Kill Me: 7” EP
Simple, short, no frills punk, like Loli & the Chones with none of that band’s virulence in sight. Three tunes grace one side only, none of ‘em reach the minute-ten mark. –jimmy (No Front Teeth)


IDOL LIPS:
Scene Repulisti: LP
I really wanted to like this record because the band is a bunch of funny-looking Italians in ties and sunglasses rendered in some kinda funny-looking Italian dot pattern standing in front of a funny-looking Italian wall with a nice big logo floating over their heads, but then if you look at the faux-Polaroids™ on the back, you can tell that Roy Orbison-looking guy is wearing the black tie with the little white stars all over it at practice, yet, on the front cover band photo, skinny moppy-haired guy is wearing the black tie with the little white stars on it and Roy Orbison guy is wearing a completely different tie. They’re borrowing each other’s ties for the photo shoot!Well i never! It did not take long for a list of bands whom i imagined the band thinks they sound like to start forming in my mind ((1. Heartbreakers; 2. Exploding Hearts; 3. Teenage Head; 4. everybody else)), but the effectiveness of said emulations remained largely in question until midway thru Side Two, when the band uncorked the record’s one and only hit, “You Gotta Choose” ((how can i tell it’s the record’s one and only hit? IT’S GOT THE HANDCLAPS, GOD DAMMIT!!!)). Usually, when bands wind up sticking their best song in the middle of Side Two—which is where common sequencing wisdom suggests you try and hide the album’s WORST song—it indicates some manner of creative loggerheads within the band, and is oft-times the herald of a band’s quick demise ((see also “Tonight” by the Cheeks)). With this in mind, may i request that, in a final liquidation of band assets, the black tie with the little white stars go to me? Grazie. BEST SONG: “You Gotta Choose” BEST SONG TITLE: “Down by L.U.V.” FANTASTIC AMAZING TRIVIA FACT: Thanks list references a “Mr. President and his bass;” if it’s the same Mr. President with whom i’m familiar, then that is one of the guys with whom i saw the Cheeks, completely coincidentally referenced earlier in this review. –norb (White Zoo, whitezoorecords.com)


HOUNDS OF HATE:
No Redemption: 7”
This intentionally generic hardcore 7” is an attempt by members of current popular groups including Pissed Jeans and CREEM to make a recording reminiscent of the demos that used to prevail at late ‘80s hardcore shows. Having grown up in Buffalo, NY, I still have a stack of tapes I bought at shows in the early ‘90s, each of which is laden with a uniquely N.Y.H.C. lo-fi production quality. It wasn’t long before the raw 4-track fun of the prior decade was replaced with digital boringness. The songs here are pretty dumb, but I think that’s the point. It’s unclear if Hounds Of Hate are here to stay or if they’re a one-off semi-joke band, but they totally kick ass live. There’s no need for a download card as the entire 7” is available for free on the label’s website. Can the late ‘80s N.Y.H.C. sound be adequately replicated today? Apparently, it can. The shaven head cover art is a hoot, too. There’s no hate here, although maybe there’s a little hounding. –Art Ettinger (Katorga Works, katorgaworks.bigcartel.com)


HELLOWAR:
On the March to the Final Doom: CD
Indonesian crust metal? Sure, why not? I was reading about Indonesian metal recently, so it was cool to get a CD of it. The twenty-one tracks on this album come in at forty-three minutes and are all sung in Malay (I’m guessing). However, they do a cover of Discharge’s “Never Again” in English. I always wanted to like crust punk, but found most of it redundant and mindless (although Discharge’s Hear Nothing See Nothing Say Nothing is a fucking solid record). That being said, I just couldn’t get into Hellowar. Part of it may have been because I couldn’t understand the lyrics—and when you play crust, most of the music is going to sound the same—the lyrics really have to stick out to make much of a difference. Also, I’m not sure how I feel about a mixture of crust and metal. At times, it seemed as though the band was trying to decide whether they wanted to be a metal band with crust influences or a crust band with metal influences. I felt like the two never melded well on this album. –kurt (Revulsion, revcords@gmail.com)


HELL CITY KINGS:
H.C.K.: LP
Blazing rock from these knuckle draggers. The sound is loud, the tempo is quick, and they’re catchy. Think of poppy Turbonegro, Zeke, Cleveland Steamer, and the sort. Some call it punk and roll. Whatever you want to call it, make sure to crank it up for the full effect and to get the subtleties of guitars and drums bashing in your skull. The vocals are pretty good—and perfect for this style. They have a gravelly bellow, yet you can hear every word nice and clear. They match the chainsaw effect of the guitars. I find the songs have more impact when the tempo is more on a mid keel, such as “134,” which so happens to be my preferred cut here. Good thing this came with a download card, so I can crank this fucker up at my Sunday night skate sessions and share the stoke. –Matt Average (Cutthroat, cutthroatrecords.blogspot.com)


HEAVY CHAINS:
A Very Real Hell: 12” EP
First couple listens, I couldn’t help but think of Nü Sensae mixed with Chrome and Flipper, and as it turns out this features personnel from the aforementioned band, along with White Lung and Mutators. So you know this is bound to be something pretty good. And it is indeed: disjointed rhythms and mutilated instruments that create mood as much as a cacophony (“Crying Demons” recalls early Sonic Youth in their more dark and minimal days). The songs are sometimes noisy. Other times, they create this feeling of being in a goopy liquid that flows like a lava lamp: gelatinous orbs of sound that rise, separate, and reshape in a strangely hypnotic fashion. Vocals are sometimes shrieks (“Commo Wire,” “Insane Pain,” and “Shit Burning Piss Tubing”), other times they’re acid trip-like sounds (“Stoned Stripper” and “Tommy Toucher”), where you hear the words, but fuck if you know what they’re saying, besides the fact it just sounds good on your ears. –Matt Average (The Broadway To Boundary, thebroadwaytoboundary.com))


HATEWAVE:
Sexual Healing 2: CD
Sometimes punk rock celebrates utter brain-dead stupidity just to show how really smart it actually is. I’m not sure that’s the case with Hatewave or not. For a reviewer like myself, it’s not always easy to suss out the artists’ true motivation for doing what they do, the way they do it—but I’m safe in saying that, whatever their motivation, this here Hatewave CD is bursting at the lobotomy seams with pure grade stupidity. And I’m not even sure that it’s accurate to label it “punk”— though it does, at times, come across like punk’s criminally half-witted cousin. Specifically, the kind of criminally half-witted cousin who is hidden by the family, chained to a rafter up in the attic, where he gnaws on old furniture legs and eats his own excrement. But it’s probably more accurate to say that this sounds like just the sort of masturbatory twaddle you’d expect from some zit-covered pubescent trenchcoat-mafia-wannabe crust metal nerds who want more than anything to shock the world with their mooning vileness. But the truth is that what most people would find even more repulsive than Hatewave’s spite-puking lyrics or their lame “rape scene” cover photograph, is the idea that these spoiled little booger-eaters probably recorded Sexual Healing 2 with brand spanking new, top of the line musical instruments and recording equipment, all provided to them by cringing, brow-beaten parents at their wits end. Because, if anything, this CD screams “bored rich kids” more than anything else. Then again, maybe this really is meant to be a send-up of half-baked crust metal fucknuts everywhere. If that’s the case, then this is brilliant. I know I laughed my ass off for most of the nearly thirteen minutes of frantic din that make up this recording. Whether this disc winds up making you laugh, shit your pants with fear, or be bored to tears, at least you get a handsomely framed photo of a fully naked Ron Jeremy on the back cover. If nothing else, at least these kids have refined tastes in hirsute ‘80s porno hunks. –Aphid Peewit (Apop)


GRIDE:
Zaskuby Chaosu: LP
It’s great how this band has morphed and grown over the years. Not content to stand still in one sound, they’ve mixed it up here and there, from straight-up, no-frills grind to some insanely highly complex, fast as fuck stuff that is near-mind boggling to take in all in one listen. The drumming on here is nuts! It’s so fast and precise, I found myself laughing in disbelief. Like, “Holy shit! Is this played by a human?!” I’m in total awe. This sounds like a band who has spent hours and hours honing their sound and coming up with nothing but quality. There’s no filler on here. Tempos switch with ease, guitars have that nice crunching sound, and the bass is on some jazz trip in the slow parts. “Na Louce V Horach Pos Lesem (On A Meadow Near the Forest in the Mountains)” has some crazy breakdowns and finds the time to throw in a metal guitar solo on top of all that. They slow it down some for “Cestou K Jame (On the Way to Hole),” with a repetitive riff that’s near bludgeoning in its relentless pursuit, before finally washing out into a mix of ambient noise and guitar notes. Easily their best record yet. –Matt Average (Insane Society, insanesociety.net)


GRAVEHILL:
Practitioners of Fell Sorcery: LP
Boy, them Gehenna kids are mighty prolific these days. By my reckoning, this is the third or fourth release I’ve come across that features a member or two of that band. This time they delve into the black/death/trash metal realm with six songs that recall the best of the Teutonic speed metal bands like Kreator, Destruction, and especially Sodom. This style seems to be making a bit of a comeback in recent years, and this should rightfully rank as one of the better—and faithful—of the modern installments, right down to lyrics like, “Archaic pages shall tell/In the black book of the earth/Demonic harbingers of the end/Necrosummoner—bring forth hordes of the dead…” –jimmy (A389)


GOLDEN HELMETS / JIZZLOBBER:
Split: 7”
Is it wrong that I look at splits as competitions? Is it unfair that, when I listen to them, I picture each of the bands in a separate cage, hovering over a bottomless pit? Is it maybe a little egotistical that I imagine myself on a giant throne of skulls with two buttons in front of me—buttons that can send the band of my choice into an endless screaming descent? The bands have to play for their lives. The Golden Helmets have to pound on that Hammond organ and stomp like they never have in their lives, making certain their wild garage rock leaves an impression. Jizzlobbers are forced to demonstrate their mastery of heartfelt leather jacket rock’n’roll in two songs, drilling the chorus of “Dead Trousers Killed Johnny Thunders” into my head with all their might. How can I possibly choose between two bands that play each of these songs like it’s the last song they’ll ever play? I’ll just have to kill them both. Just kidding. They can live for now, as long as they keep the energy up. –mp (THH)


GAGGERS, THE:
Rip You Apart: LP
There’s quite a bit of rock’n’roll swagger hardwired into the tunes, but, at the core, what yer getting’ here is straight-ahead thud-punk with a singer trying to out-screech the dude fronting the Stitches. What they do they do well, and should provide hours of quality entertainment for the whole family. –jimmy (Dead Beat)


FUR COATS:
Don’t Make Me Beg: 7”
If M.O.T.O.’s Paul Caporino doesn’t consider his band a punk band, I wonder what M.O.T.O. would sound like if he did. Chances are it might sound like The Fur Coats. Take Caporino’s distilled-pop-songwriting-savant-style mixed with salt of the earth, poppy, Chicago-style punk, and you have something pretty close to The Fur Coats. Contains ex-members of Das Kapital, Direct Hit!, and No Empathy. –Daryl Gussin (Dirt Cult)


FUCKED UP:
Year of the Tiger: 12” EP
This is the fifth annual single from Fucked Up revolving around the Chinese Zodiac. Yet another sprawling affair, with layer upon layer of instrument tracks, the depth of sonic textures present is staggering when listened to closely. Vocalist Damian “Pink Eyes” Abraham waxes poetic, making lyrical references to William Blake’s “The Tyger,” with support by Jim Jarmusch, and Annie-Claude Deschênes on back up vocals. While more measured and less urgent than any of the tracks on last year’s album David Comes to Life, I found “Year of the Tiger” to be among the most listenable of their zodiac singles. The B-side, “Onno” is a bit of drone-y, synth-y goodness for those into that sort of thing. Overall, this is recommended, but the diehard Fucked Up fans will be the ones to most appreciate it. –Paul J. Comeau (Matador)


FRUSTRATIONS:
Negative Reflections: LP
For only three people, Frustrations crank out a massive sound. The guitar dominates with scratched strings, screeching blasts of feedback, and oscillating sounds. The songs go off into noisy jams that bring to mind early Sonic Youth (“No Repair” sounds like it could be the counterpart to SY’s “She Is Not Alone”), but instead of going over into completely art damaged territory, Frustrations keep everything planted firmly in rock (plus it helps when you have a drummer, like Scott Dunkerley, who can play well). At times, it’s near psychedelic, as with a song like “These Woods,” which starts off with a tense and dark mood, then picks up into something more “up” and moves with a nice groove before eventually collapsing into a mess of noise. The most straight forward song on here is “Confusion Kills”—though not really that “normal”—it goes straight to a fast pace and keeps on going to the end, with some noise thrown over the top for extra urgency. The only clunker on here is “Black Lighting,” which tends to run a bit too long. The one thing I would like for them to do is let their drummer swing more in the songs. Once that happens, look out! –Matt Average (X!, x-recs.com)


FRONTLINE SOLDIERS:
Oath of Loyalty: 7” EP
Ever fall in love with a band that never recorded? Or hear a comp with an amazing song from an artist that never put anything else out? Each and every subgenre of punk is full of lost bands and unreleased gems. The world of oi is no exception to that rule, especially since so many people move in and out of that hyper-specific subculture. Recorded around a decade ago, but not released until now, Oath of Loyalty collects all of the material Frontline Soldiers ever recorded, except for their legendary track on 2004’s Streets of America comp. Lean and mean, with a spirited hardcore slant, Frontline Soldiers owe a lot to their N.Y.C. brethren Oxblood. This fantastic EP is a time warp to the exciting oi/street punk revival boom of the 1990s. It’s frustrating to think of what other tapes are collecting dust in studios around the world. Now I’m getting nostalgic for records that don’t even exist. How fucking postmodern is that? –Art Ettinger (United Riot, unitedriotrecords.com)


FROM THE DEPTHS / NEXT VICTIM:
Split: LP
From the Depths: Metallic hardcore with a woman doing some actual singing and a man doing stereotypical grunt/growl-type vocals at the same time. Next Victim: Slow, plodding, grandiose metal stuff with screechy vocals from a guy I’m guessing is singing in Polish. They got much better when I put the lyric sheet down and pretended they were singing woeful tunes about donuts and a “sea of shins.” –jimmy (Nikt Nic Nie Wie)


FOLDED SHIRT:
“Tiny Boat” b/w “Mouth Clock”: 7”
It’s damn near impossible for me to not mention the words “super group” when trying to describe a band made up of members of the Darvocets, Out With A Bang, Homostupids, and Mr. California (most of whose records are very near and dear in my collection). But that’s, ultimately, what we have here: a super group of super weirdoes fucking with your every expectation of what this could possibly sound like. The photo of the band on the insert offers a bit more perspective as to what it is you’re listening to: a drum set which has what looks like a stove pot attached to it while it appears as if Mr. California is performing surgery on a butterfly-shaped guitar as the vocalist croons to it. If that’s not fucking “weird punk” enough for you, then consider the fact that there are actually three songs on this, not two, and that there’s no label credited for the release (you have to look carefully at both the run off etchings and the groove markings on the vinyl to figure this out). Sadly, this record is rumored to be their swan song, following an amazing full length from last year. I’m gonna miss eating their shit up with a spoon. Fuck yeah, I’m a “foldie”! –Juan Espinosa (Fashionable Idiots)


FLAMINGO NOSEBLEED :
Headbanger: CD
Ramones-derived pop punk that occasionally strives to be something a bit more interesting and substantive than that. –jimmy (Chain Smoking)


FESTA DESPERATO:
Psi Vatikanu: LP
Just when I thought crust was on the outs, along comes this record to change my narrow way of thinking. Holy fuggin’ Kuhryst! This record is a crusher from start to end. It’s heavily influenced by Swedish bands like Skitsystem, Wolfpack, and Victims, but with added intensity: massive wall of guitar, low end forever, pummeling percussion, and throaty, raspy vocals. They have a way of building the songs, creating a tension—then when it all comes together—there’s this underlying groove that pulls you in and carries you along for the duration. There’s a definite urgency in the playing that really makes this stuff work and not sound tired or like a band going through the motions. You can hear it in the way the guitars are bashed and the drums are smashed—as fast as they are rhythmic. Fast without being thrash, just give “Osada Nezivych” a spin, for example. I love how the bass has a tough-as-nails sound, thick with some distortion. The transition between “Driv Nebo Pozdeji” to “Kde Clovek Dodychal” is fantastic and keeps the energy constant. Great, great, great record! –Matt Average ((Insane Society, insanesociety.net)


FAN ZUI XIANG FA:
Self-titled: 7”
This five piece out of Beijing, China, get big ups from me. Hailing from a country that unabashedly enforces censorship of the internet and openly imprisons dissenters, these guys are flippin’ their gov the bird. Their latest release features six tracks of face-smashing, teeth-grinding hardcore punk utilizing both English and Chinese lyrics. Heavy on the metal aspect, “Rip-Off” and “Target Me” take on a more punk’n’roll song structure. While four of the six tracks are sung in Chinese, the heavy guitar chords, crashing drums, and battle cry vocals speak a language any good punker can understand (there’s a translated lyric sheet for those interested). Covering topics like over-consumption, conformity and living in a police state, this is a reminder that the struggle for freedom isn’t just here in the States, it’s global. Recommended. –Kristen K (World Won’t Listen)


FAKE BOYS, THE :
Nice Knowing You: 7” EP
A two-guitar melding of pop punk and Foo Fighters. –jimmy (Kiss Of Death)


EVIDENCE SMRTI:
Self-titled: LP
Smrti translates into English as “death.” This outfit from the CzechRepublic reside in the heavy and crushing metallic hardcore punk realm populated by bands like Wolfbrigade, Hellshock, and Amebix, with equally dark and bleak lyrical content. The music box that is used in the song “Zapomen” gives the song an eerie effect, which brings a more interesting aspect to their sound. They cover Nausea’s “Cybergod,” injecting more heaviness and urgency into this version than the original. You get the blistering wall of guitar sound coupled with the pummeling gallop of percussion required to make this stuff hit you dead in the chest. I’m very stoked to have this record in my collection. Comes with a color fold-out poster as well. –Matt Average ()


EVACUATE:
Endless War: 7”
San Diego’s Evacuate already has two LPs out and is definitely one of the finest current street punk bands. Featuring Mike Virus of Cheap Sex and The Virus on vocals, they try to emulate classic anarcho hardcore, but end up sounding much more complex. A good comparison is the old Philly band Dis Sucks, maybe also with a hint of early emo hardcore like Heroin. In any event, Evacuate continues to pump out records and play tons of shows. If you’re turned off by the high density of kids cropping up with Evacuate patches, you’re probably too stuck up to like them anyway. The rest of us are diving in. Deodorant is permissible, but certainly not required. –Art Ettinger (Voltage, voltage-shop.com)


EMBARRASSMENT, THE:
“Patio Set” b/w “Sex Drive”: 7”
I know all of this because Jason Willis of the Knockout Pills and Weird Lovemakers loaded me up with three CDs of The Embarrassment ten years ago. Thanks, Jason. The Embarrassment were a punk band from Wichita, Kansas. (Punk’s a label they countered with calling themselves, and a later album, “blister pop”). These are two tracks from their first-ever recording session in late 1979. I’ve always thought of the Embarrassment as building bridges in the middle of flat expanses. The middle of America—especially pre-internet—had a difficult time spreading independent music outside of its borders. It’s this lack of ability to transcend being landlocked that was both a curse and a blessing. The curse is obscurity and taking thirty or more years for a world larger than the middle of America to embrace great bands. The blessing is making unique, time-resistant music. (The fate of the Zero Boys comes to mind, too.) The Embarrassment built many bridges. The bridge from Manchester, England (Joy Division) to Minneapolis (Replacements) and the bridge from Los Angeles (Alley Cats) to Athens, Georgia (REM) are just two of them. They’re one of those bands that made a body of work—complex circulatory systems of music—which time has reinforced that they’re one of the shamefully looked-over, flown-over, bridge-building bands of the early ‘80s. A welcome re-reissue. (Big Time, then Heyday, now Last Laugh.) I fully recommend you spend time hunting this down. –todd (Last Laugh)


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