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Record Reviews

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Below are some recently posted reviews.

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DIRTY MARQUEE:
Self-titled: Cassette
Really glad I found a cassette player that worked. This is a great little collection of politically-aware songs. All are great for sing-alongs with a group of friends. Folky-punky music in the vein of Andrew Jackson Jihad. Nice harmonies and a solid balance between the male and female singers. Bonus points for including a small lyric sheet. –Samantha Beerhouse (Self-released, dirtymarquee@yahoo.com)


DIRECT HIT!:
Domesplitter: CD
Sheeeit, these dudes got a lotta energy. The singer sounds like’s he’s blowin’ vocal chords left and right and you can feel ‘em just jumping all over the stage with wild abandon. I know this sounds like it’d be a review for a hardcore record or something, but Direct Hit! is basically a pop punk band. They just go for it really hard. A lot of this record comes across like it’s a concept album about a zombie invasion, which I would normally think is the stupidest thing ever. (Nothing against zombies per se, shit’s just super played-out right now. Time for a new trend, maybe Creature From The Black Lagoon or something...) Somehow it works here though. Fair warning: love or hate these guys, these songs are gonna get stuck in your head. Recommended. –Ryan Horky (Kind of Like, kindoflikerecords.com )


DEFECT DEFECT / DAYLIGHT ROBBERY / FOREIGN OBJECTS:
3-way split: 1-sided LP
It’s a three-band show that’d totally rule. Three contemporary punk bands on three different channels, but all on the same wavelength, if that makes any sense. Defect Defect: Colin couldn’t be clearer. He’s calling out all punks who got “too old” and have “given in.” I can almost see his crooked glasses slipping off his face as he sings this. Black Flag? Absolutely. Damaged, not TheProcess of Weeding Out. Lines drawn. Tough love. Napalmed babies. I’m down. Daylight Robbery: Sounds like their records come with a spool of police tape that raps around your stereo as it plays. It cordons off a crime scene, sets the place in noir-ish blacks and whites, expands to ten times its original volume, and carefully inspects and detects. Think X, Los Angeles, not Hey Zeus! Foreign Objects: I blame professional wrestling. When I did a podcast with Bill Pinkel and he played the Foreign Objects, I was like, “Oh, there was an L.A. band called that.” No, no there wasn’t. It was Legal Weapon. The professional wrestling opposite of a Foreign Object. Although the guitar plays “Just Another Damn Song” by Bad Brains, this is totally Legal Weapon-y, Death of Innocence, not Squeeze Me like an Anaconda. Summation: Oh, hell yeah, I hear echoes of bands before. But it’s the best echoes, not the questionable ones (that loved the Grateful Dead and hair metal). Run that correct shit up a pole. Great stuff. –todd (Dirt Cult)


DARK AGES:
Can America Survive?: LP
Some good hardcore here, alternating between slow and fast tempos, with an occasional herky-jerky delivery to keep ye on yer toes. The lyrics are relatively simple and repetitive—but by no means mindless—and address conformity, aggression, and religion’s effect on American society, all in a way that makes a point without a soapbox. Snazzy giant newsprint poster, too. In all, good, creative, and a step off from the herd, as a good punk band should be. –jimmy (Sorry State)


DANGERBIRD:
Johnny: CD
Interesting variant on a style here. They take the sluggish stoner rock tempo, remove the heaping dollops of Sabbath and skunk weed, and replace it instead with a different ‘70s band vibe I can’t quite place. Still heavy, but the sound is a bit brighter and less caustic. –jimmy (Dangerbird, dngrbrd.com)


DANGERBIRD / UGH GOD:
Split: 45
DANGERBIRD: You’ll hope you’ve got the record playing at the wrong speed. You’ll weep openly when you find you don’t. UGH GOD are quirky noise pop reminiscent of a cross between an overly polite version of The Mad and what i think i remember that Tin Huey album sounding like. “It’s All Pink on the Inside” is almost decent enough to justify this record’s existence. Almost. BEST SONG: Ugh God, “It’s All Pink on the Inside.” BEST SONG TITLE: Ugh God, “My Sweet Bits.” FANTASTIC AMAZING TRIVIA FACT: The person who etched the matrix numbers into the run-off grooves has very good penmanship, as run-off groove etchers go. –norb (SRA)


DAMNABLE EXCITE ZOMBIES:
Discography 1990-1996: CD
The title says it all: a discography. A collection from various splits, a 7”, comps, and live set from their reunion in 2010. The name of the band should give a clue that the band was from Japan. What it doesn’t give away is that this band plays manic and raging-fast punk with precision. Reminds me a lot of Gauze and Systematic Death in vocal delivery and song structures. It’s a fearless attack that borders on collapse, yet they maintain to keep it together long enough to belt out the tunes. Adding a touch of grit is the raw production. It’s an 8-track sound that adds a bit of harshness, keeping it from sounding sterile. It is not uncommon that this band flew under my radar. I was a bit disengaged during the ‘90s. But someone put their money where their love is and compiled this for those who missed out the first time. Wondering what their originals go for on Ebay? –don (Not Very Nice, chaosonmusica@gmail.com, notverynice.bigcartel.com)


CROWBAIT:
Three Tickle Guys: Cassette
Five songs of Hot Water Music punk with a guitarist who knows when to go into a catchy lead. Nothing new here, but the tape insert holds enough inside jokes that I’d go to their show just to hear the funny shit they say while tuning. –CT Terry (Dead Broke, deadbrokerecords.com)


CREDENTIALS, THE / DEAD UNCLES:
Split: 7”
Credentials: Todd said, “They’re pretty poppy” when I picked this out of the pile and now that I’m listening to it, I can see why he issued that caveat. See, much as I like pop, and I like punk, and I love the earliest strains of pop punk’s antecedents (think Undertones, Buzzcocks, and Descendents), most pop punk has given me a bad rash from the moment every suburban shit band on the planet decided that aping NOFX and the Queers was a rock-solid retirement plan. That said, yeah, these guys definitely fall under the pop punk banner, but the blessing here is they apparently could give a fuck about being on Ben Weasel’s turntable darlings and opt for a more “indie” route, if you will. Yeah, I ain’t all that jazzed about the tune, but I respect ‘em, which’ll likely mean fuck all to them, but is meant as a compliment nonetheless. Dead Uncles: Can totally see ‘em in a New Red Archives catalog circa 1989, right between Samiam and Jawbreaker. –jimmy (86’d)


CORMANS, THEE:
Halloween Record w/ Sound Effects: LP
The package was so remarkable that I was hoping for something that was not to be. Wacky throwback ‘60s cover art? Realistic magazine-styled advertisements for the insert? In the Red Recordings? Is this one of the newest of the current crop of rock’n’roll purists like Hunx And His Punx and Shannon And The Clams to explore the territory of musical ages long since passed? Well, yes and no. It’s a throwback record all right, but it’s more interested in Dick Dale than the Kinks. I’ll be the first to admit that an instrumental album doesn’t sound appealing most of the time. (Or ever, really. I don’t like them at all.) And I’ll also be the first to admit that I think anything can be done well. As an album of atmosphere, this is really good. I can’t help but be amazed at the album as a whole. There’s a part of me deep down that really loves concept albums and this one works so fluidly between sound effects and songs that I was surprised to find myself feeling uncomfortable during a few points in the record. All signs point to this album being high art. A concept followed to the final step made with love and passion for an unsung hero of media. –Bryan Static (In The Red, intheredrecords.com)


COPYRIGHTS:
Crutches: 7”
As the years pass and the things that used to be new to me don’t catch me by surprise so easily, I find myself asking for more. I’m not so jaded that I need a band to have everything, and I don’t have a checklist or anything, but it takes a lot more for a band to get me psyched up than it did when I was fifteen. This record has me really psyched up. It’s pop punk. It does everything that pop punk is supposed to do. But this record also does more than that. It tells stories. The lyrics aren’t just throwaways. “Crutches,” the title track, addresses that moment when a person realizes that old behaviors may not be the best behaviors, particularly when they’re damaging. It’s not about moving past them. It’s not about succumbing to them. It’s just about that moment of realization. To lyrically catch and explore a moment like that… and to have the music match? That’s more than what I ask for from my punk rock. Maybe it’s what I should ask for from now on? How many bands can deliver that, though? –mp (Red Scare/It’s Alive)


COPYRIGHTS, THE:
North Sentinel Island: CD
I finally figured out my stance on the Copyrights. They are an ideal EP band. I want to like them, but when I put on one of their full lengths, I zone everything out to background music after four or five songs. Yet, the times I hear a track or two from them on Joe Sibb’s radio show, I start reevaluating them and thinking of them as more awesome. They have a very workmanlike way of crafting catchy Chicago-style pop punk, but it is almost too consistent over the long haul. So if one thinks of North Sentinel Island’s fourteen tracks as three EPs, it’s a quite exceptional pop punk release. Go track one to five as EP one. Start again at track six “Bow Down,” which really feels like an opening track due to the sampling. End this EP at eleven, “The New Ground Floor,” which has a very epic ending. Finally, start again at twelve and you have yourself a nice three-track EP. So there we go, program this into the MP3 player as three EPs, and you have yourself a rad compilation album. As a bonus, this got me to look up what North Sentinel Island is. What would I do without an inspirational teacher like pop punk? –Adrian Salas (Red Scare)


CONSPIRACY OF OWLS:
Self-titled: LP
From members of Detroit rock and roll band The Go comes Conspiracy Of Owls (whose name comes from a Bob Pollard tune. And Bob Pollard even contributes the artwork on the insert!). Conspiracy Of Owls is an odd bird to describe. Along with Still Flyin’, these guys put together some of the slickest and smoothest, the most incredibly brilliant and expertly played music and, flawless, crisp, clear production that will largely fall on deaf punk and indie ears trained to eschew the kind of music that your square parents listen to. In short, this is yacht rock as shit. And, even better, this appears to be completely genuine, as opposed to another bit of pop culture scorched earth that is ironic hipsterdom. Listening to the record is like taking a trip on a time warp with a treasure map of ‘60s and ‘70s sounds as your navigational device. The songs on the record are quite varied with sprinklings of glam, psychedelia, sunshine pop, and the smooth sounds of ‘70s California: the kind that your white wine drinking, Op corduroy short shorts and mustache-wearing dads listened to so they could score with your moms. Give it a listen and you’ll hear T. Rex, David Bowie, maybe some early Alice Cooper. But what will be troublesome to many is that in addition to trips to the usual, universally cool stops, you’ll find yourself having to face the kind of music that for decades has polluted the airwaves and become an omnipresent part of the backgrounds of our lives: Steely Dan while you’re on hold on the phone; Seals and Crofts when you’re grocery shopping; Boz Scaggs while riding an elevator. Those folks symbolized, to many, the death of the idealistic ‘60s and the adventuresome music that came along with it, and replaced it with musical crass commercialism: studio pros trained to make pop hits. But, as Warhol took the innocuous soup can, took it off a shelf and put it on to canvas to show the art of commerce and the uniqueness of the ubiquitous, Conspiracy Of Owls strips those sounds to its essence in this reclamation project: harmonized vocals, intricate layers of guitars and synths, accessory percussion and horns. All those things together create what is a masterful record of balance: both rock and roll weirdness and smooth jams, both instantly accessible to some listeners and incredibly challenging to others. And it is, lastly, fantastically rewarding to all willing to give it a chance. –Jeff Proctor (Burger)


COLA FREAKS:
Farvel: 7” single
So, these guys came over sometime in the past year or so, and played Beerland in Austin. No where else. Just Beerland. I thought that was pretty strange. Why come over the USA, and only play one show? Well, turns out they were playing a show sponsored by that car company, the one that makes shitty plastic box shaped cars, akin to a glorified Matchbox car. That car company that somehow gets all these bands, metal and punk, to play “free” shows. Corporate sponsorship is corporate sponsorship. No matter if it’s beer, shoes, or cars. It tarnishes a band, especially in a scene like punk. It’s like if your lover fucked around, and you found out. Would you be cool with it? Say you were—you know there’s going to be that nagging doubt forever in the back of your mind. Well... Before this turns into a column, I’ll stop with the editorializing, and talk about this single. Like everything they’ve done before, it’s pretty damn good. I was skeptical of the Avengers’ cover (“Car Crash”), but they pull it off and give it little more of a boost; just check out the bass and how it has a strong driving presence in the mix. “Farvel” is an original, and more along the lines to the direction they headed on their album. The keyboard figures in, giving this an early L.A. feel. It’s bouncy, it’s quick, it’s catchy, and pretty damn good. Yes, pick this up. I still like these guys. But, things are a little different now. Something has come between us. –Matt Average (Local Cross, localcross.com)


COBRA SKULLS:
Agitations: CD
The Cobra Skulls have become one of the dependable go-tos for catchy political pop punk. Much like Bad Religion, there’s a certain musical consistency they possess while still having a sound that is uniquely them, thanks largely to singer Devin Peralta’s distinct voice (and if you’ve seen them live, his hair). Maybe it’s because this is the band’s first full length on Fat Wreck, but it seems like they turned down the Against Me! and turned up the NOFX/ ‘90s Fat sound. The song “All Drive,” for instance, has a bass intro and main riff that easily could of come from Punk in Drublic. Also, the song “On & On” has backing vocals that brings to mind Lagwagon. While this band has always been defiantly left wing, the lyrics this time around may be their most plain spoken and strident yet. And good for them. “The Mockery” is a favorite, but the band pretty much cannibalized the main riff from their own earlier song, “Rebel Fate.” This band really shines when they stray from their standard sound (like the couple of songs they do in Spanish on their earlier releases) and in this case, the pseudo-acoustic “Believe” that ends the album is the high point. Cobra Skulls are a strong band and this is a good release over all, but songs like “Believe” really showcase the potential this band has at putting out something really next-level-amazing someday. –Adrian Salas (Fat)


CLOROX GIRLS:
“Genocide” b/w “Bad Girls”: 7”
A double dose of power pop-infused punk rock from Justin, Richie, and friends is what you get on the new Clorox Girls 7”. The formerly Portland (and formerly Bay Area) -based Clorox Girls have settled in to Los Angeles quite nicely, recording these tunes at San Pedro’s Cali Mucho studio with (now bassist for the band) Kid Kevin and co-released by the Pedro studio’s label, 45 RPM. Poppy, bouncy, singalongs with the best harmonies in punk continue to make their mark with tunes steeped in the tradition of the Dickies’ and Buzzcocks’ catchiest. Nice to hear new tunes from band following a two-year hiatus. These fit in nicely with the rest of the band’s work and hopefully serve as a teaser for a future full length. –Jeff Proctor (Hovercraft/45 RPM)


CHOSEN FEW, THE:
The Joke’s On Us: 12”
I was gonna go on some blathery spiel about how these Australians—best known for “Adolph, You Beauty!” i’d imagine—were the quintessential KBD band, when i realized that i hadn’t listened to the original first few “Killed By Death” albums since i had ‘em taped for purposes of listening to in my car whilst delivering pizzas twenty years ago, thus I should probably research this claim a bit, thus i looked up the contents of the first KBD comps, and, slap me silly and shoot the horse, these guys ain’t on ‘em, so what the fuck do i know anyway, and, without using examples, could i even define what it meant to be “KBD punk?” Sure, i’ll ‘ave a bash: “KBD punk” = the prevailing flavor of late 70’s/very early 80’s low-budget DIY punk, from the US and/or Canada but not England and/or the UK but possibly from Australia and/or New Zealand, that followed in the wake of the popular, major labelly stuff, but preceded the advent of hardcore as the dominant punkly paradigm. I’m not exactly sure why the sounds of the KBD era can’t be replicated, faked, or successfully imitated—given that the recordings of the era require no particularly special gear or period-specific talents—but, oddly, they can’t. Only the gen-u-wine article sounds like the gen-u-wine article, and i’ll submit to you that no article sounds gen-u-winer than the Chosen Few. These half a dozen songs, originally released in 1978, have stood the test of time, have seeped into our punkly collective consciousness, and will cling there, permanently, like a bacterial booger-mass, adhered forever to our cranial forecavity. I claim this because, if the Chosen Few weren’t on the original KBD albums, then i’m not really sure whence i know songs like “Adolph, You Beauty!” and “T.A.L.O.I.G.A.”—only that i do, indeed, know them quite well. A prudent observer might note that the presence of significant guitar leadage in this artifact indicates that the subjects were still running early influences like Blue Oyster Cult ((and whatever Michigan stuff Deniz Tek brought to the barbie)) thru the sonic reducer that was the first Ramones album, as opposed to the punkly situation of a few years later, where bands were running early influences like the Ramones thru the sonic reducers that were the first Circle Jerks or S.O.A. Records. There might be a lot of it going around, but a wise man gets whilst the gettin’s good. BEST SONG: “T.A.L.O.I.G.A.” BEST SONG TITLE: “(Do The Manic) To Kill Or Maim, Honey!” FANTASTIC AMAZING TRIVIA FACT: The actual label of the record makes use of both a zig-zag, AND the Lower West Side “shatter” font, the means by which we eventually DESTROYED THE SEVENTIES UTTERLY!!! –norb (Going Underground)


CHEETO CHAMP:
Gets the Giggles: 7-song CD
One of my hot buttons in music is preciousness. I have no patience for “watching people make a sweater made out of musical notes instead of yarn” music. And although Cheeto Champ play their music with an undeniable sweetness and vulnerability, they more than balance it out by some furious pedaling, plenty of crunch, and well-placed “i!i!i!”s. Sweet is balanced with the sour. The sour balanced with salty and spicy. Cheeto Champ is the Takis Fuego of punk. Or cactus punk: able to thrive in harsh and barren environments, outward spines against intruders, solemn beauty. Adrian is one of the singers of God Equals Genocide. In Cheeto Champ, she pulls a vast majority of the lead vocal duties, and with that longer exposure, she really sounds like Iceland’s Björk Guðmundsdóttir of the Sugarcubes, circa Life’s too Good. Only took me five or six years to realize that.Comes inside an impressive letter press cover and stamped CD artwork. I like this a lot. –todd (Lauren, Lauren-records.com / Bite The Cactus, bitethecactus@gmail.com)


CANNOMEN:
Sex on the Bleach: 7” EP
“Tidal Waves” starts things off with a catchy bit of surfy punk along the lines of Dead Kennedy’s “Police Truck” or Channel 3’s “Manzanar” and some “whoa-oh” choruses. The opener on the flip, “No Sex,” is a straight off the Southern California circa 1981 template grade-A hardcore, and the closer, “I Drank the Bleach” sends you off with a hardcore ditty that would make the Zero Boys proud. Given the title and the nekkid goil cover, I was totally expecting some lame ass pop punk, and I’m glad I was wrong. –jimmy (Fat Sandwich)


BUBBLEGUM SCREW:
Screwphoria!: CD
Well, first off, it’s not bubblegum, which, all things considered, might be for the best anyway. Things start off promisingly enough with “Because He Loves You,” a catchy enough punk-pop-glam-roll quasi anthem with a “Whoo! Everybody get rockin’!” kinda intro and female backing vocals with which my only major beef is that the singer’s delivery is usually behind the beat ((and not in a cool way like Bing Crosby, either)) and the production is such that the singer’s off-timey-ness is front and center in the mix. They hold serve for a while, acting as a green but drinkable fruit cocktail of pre-hair-metal CH3, post-hair-metal CH3, the Heartbreakers, “Not Anymore” era Dead Boys, the Waldos, Radio Birdman, and hair metal itself, but, as the disc wears on, the hair metal and the “Not Anymore” aspects of things start to predominate and my interest wanes accordingly. In “Power”—about, you know, the POWER of their ROCK—they state “we’re trying to make a sound like nobody else!” I dunno about you, but I would tend to put more credence into this assertion if it were not made by some guys who are depicted on their record cover lying underneath a bunch of Heartbreakers, New York Dolls, Runaways, Joan Jett, Damned and Iggy records, with a guy on the back cover sitting in a bathtub in a Johnny Thunders t-shirt. Just sayin’ is all. BEST SONG: “Because He Loves You.” BEST SONG TITLE: Well, “Operation” worked pretty well for the Circle Jerks. And “Teenage Fuck Up” worked pretty well for Really Red. “Rich Bitch” didn’t do too poorly for DOA. Then again, “Kerosene” did wonders for Big Black. Maybe they’re lying underneath the wrong records? FANTASTIC AMAZING TRIVIA FACT: Inner booklet art includes the image of a Zodiac Mindwarp ticket stub from 2011. I probably should have sent them my ZM ticket stub from 1988 for additional hair-metal cred. –norb (Blood Sucker)


BROWN SUGAR / MAYDAY!:
Split: 7”
Brown Sugar a play sneering, selfish, masturbatory, ennui-driven hardcore. It makes me think of what might have happened if Die Kreuzen or Void went down in the basement and jammed after a three day bender. It’s good in an anti-hero kind of way. In the same way, Mayday! play ugly, anti-melodic punk with snippy female vocals. I can almost hear The B-52’s “Rock Lobster” buried in the mix of the second song “In It to Win It,” but without the slightest of pop sensibilities and some weird, dare I say, Fugaziesque guitar noodlings. –Craven (Feral Kid)


BRAIN F≠:
Sleep Rough: LP
You can say that I’m totally high and I’m listening to a completely different band than what’s actually playing on this record. I’m fine with that. Brain F≠ (pronounced “Brain Flannel” (no idea how the “not equal to” sign becomes “lannel”)) come across as a bunch of hardcore folks who channel the following: Sweet JAP, The Saints, The Detroit Cobras, and Taschen. They embrace the stomp and go, barking and wailing, “If you fall off the back, it’s your own damn problem” pacing of Sweet JAP. They bury the sweet and mysterious hookiness of the Saints (albeit completely aggravated and breathless, like the most frenetic tinfoil-in-caves-vertigo moments of (I’m) Stranded). The lady from the Detroit Cobras has a fuckin’ awesome voice, but she’s adamant that the Detroit Cobras are definitely not a punk band. Elise Anderson has an awesome voice and this is unabashedly a punk band. To tie it all up, there’s art at work here that I don’t fully understand, but I don’t think they’re mocking their audience and the graphics look nice, so that’s cool. I rarely make comments about mastering and levels and whatnot because I don’t know dick about that stuff—but this record’s amazing in the fact that the two vocalists are nice and clear in the mix among the buzzing ricochets of blasting instruments. I’m sure they’re murder on live PAs. Exciting. –todd (Grave Mistake, gravemistakerecords.com / Sorry State, brainflannel@gmail.com)


BLACK KITES:
Songs Written while Things Were Changing: LP
Three-piece playing Saetia/Reversal Of Man-type chaotic hardcore with the requisite howling wind screams for vocals. Instead of tempering the fast parts with clean guitars, they go into sludgy grooves in weird time signatures. Considering that this is ‘90s screamo mixed with tech metal, it’s remarkable how listenable and downright catchy it can be. Good shit, fellas. –CT Terry (Protagonist)


BLACK GOD:
Self-titled: 7” EP
One o’ them bands that loves to find a groove and just grind it into your noggin, which is decidedly a good thing. Six tunes, none of which seem to go past the two-minute mark; rock-solid, mid-tempo and heavy without trying to sound heavy, if you know what I mean. –jimmy (No Idea)


BLACK CLOUDS, THE:
Self-titled: 7” EP
From the sounds of this, these guys are aiming to strip things down to their primal core, with thumpa-thump drums, two guitars (could be my shitty stereo, but I ain’t hearing much bass here) and screamy vocals. They do have the sense to slather on a bit of bluesy rock sheen to keep it from becoming a total skronk-fest, though. –jimmy (Ride The Snake)


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·Bush's Brain


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