Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine
 

























Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Below are some recently posted reviews.

RSS Feed

FUCKED UP:
Baiting the Public: 7"
I’ve scratched my head for the better part of eighteen years and continue to do so. What makes some hardcore so patently ho-hum while other bands sound like they’re, metaphorically, sticking a firecracker up a cat’s ass so the explosion happens right in front of you, claws are flying every which way, and it’s sticky? I still don’t know, but Toronto’s Fucked Up kick all of the excitement knobs as far as they’ll go. The songs aren’t full-out speed blasts and the mid-tempos suit them well. The guitar work pings off itself and the drumming sounds happy among the chaos, so it’s not only trammeling and feisty, but the songs are injected with a new sense of urgency. (Very much like Sweden’s defunct Get Up and Go’ers.) By doing all that, not only can I tolerate the freakout sax and clarinet outerlude on “The Public,” it actually sounds good and well placed. If I were in a masochistic mood, I’d beat my finger with a hammer so I could give this a bigger thumbs up. –todd (Deranged)


FURIOUS IV:
Is That You?: CD
Rancid goes to college. –jimmy (Naked Jain)


FROM ASHES RISE:
Nightmares: CD
Sweet holy hell, From Ashes Rise have always been able to assemble full arsenal hardcore. Nightmares is no exception. Similar in their placement of the audio claymore to musical brethren, Tragedy, the vocals are just on this side of hysteria, they intertwine spools of barbed wire guitars, and the drumming seems to permeate everything like some fuck-you-up biological warfare gas. What’s hooked me on From Ashes Rise is no matter where I hear them, dark clouds seem to form from their heaviness. It’s not all doom and gloom, actually, and I find myself grinning along quite often because their science is so fucking tight. I think for brief seconds that From Ashes Rise makes songs that could literally, and instantly, change people’s lives, just like a car accident. Think of the best of both Black Sabbath and Seein’ Red welded together like a new monster that’s got new tricks up its sleeve and old scars to show you what it’s been through. That said, Nightmares differs noticeably from the recently released split they did with Victims on Havoc Records. From Ashes Rise’s side of the split was more dedicated to setting a tone and establishing a definite atmosphere. Epic without the cheese, like watching dust settle after a bomb blast. This album seems to be about direction – heading somewhere fast while trampling bodies underneath. If you’re new to From Ashes Rise, I suggest getting them both and listening to them back to back. That’ll be a mighty fine block of time listening to music. Highly recommended. –todd (Jade Tree)


FRACUS:
On Trial: CD
Their obvious influence is the Misfits and they are pretty close on the vocals, then they add a Bay Area twist on what some Texas bands in the mid and late ‘90s started playing. Less Lord High Fixers and more The Champs. It’s drunk punk and it’s pedestrian. Maybe I need a beer to enjoy it. –Wanda Spragg –Guest Contributor (Cheetah’s)


FOURTEEN OR FIGHT:
Self-titled: 7” EP
I like hardcore that’s clean, yet jagged, and startlingly bloody, like a fifteen-car pileup on the freeway, only on the stereo. And that’s exactly what Fourteen or Fight deliver. Smash’m, crash’m, “Thank you Minor Threat, we’ll take it from here” hardcore. If you’re looking behind the ears, lifting up the tail, and checking the teeth for pedigree, it contains ex-members of MK Ultra, Charles Bronson, and Ambition Mission. Sweet in a toothless smile and concussion sort of way. –todd (Lengua Armada)


FORNICATORS:
Brat and Punk Division: 7”
I guess when English isn’t your first language, you don’t quite realize what a silly name “Fornicators” is. I guess it also doesn’t matter, because these Swedish fuckers rock through three and a half cool street punk songs with attitude like the Stiff Little Fingers and tight melodies like Bombshell Rocks. They also have a half of a song that’s a ballad, but we’ll have to look beyond that. This is their first seven inch, and I have to think that they’ll learn to do better and turn into a pretty solid band. –sean (Fornicators)


FM KNIVES:
Keith Levine/Valentine: 7"
In the pages of this very magazine, the FM Knives claimed that they sound nothing like the Buzzcocks, but I’m here to tell you that they were lying. I’m gonna go so far as to say that they’re trying to sound like the Buzzcocks, because there’s no other way for them to pick up Pete Shelley’s British accent growing up in Sacramento. Still, that doesn’t stop the FM Knives from taking their influences and making something fresh and new. And, no matter how you look at it, the FM Knives are fucking awesome and this two-song forty-five is worth every last penny. –sean (Dirtnap)


FLASH EXPRESS:
Introducing the Dynamite Sound of: CD
Soul-inflected trash punk that, on the whole, ain’t as good as some, but is far better than most. I’m willing to bet they rock the fuck out of a stage. –jimmy (www.hititnowrecords.com)


FIYA:
Room for One More: 7"
What is in the Florida water? There are so many good bands coming out of there right now. Fiya is no exception. I don’t hear any unifying sound that would place them in with other Gainesville bands that I hold pretty highly, but they definitely hold their own. They play emotional hardcore that sounds like neither of those words had ever been tainted. –megan (Dead Tank)


FIRST TIME, THE:
You Can’t Hurt Me: 7” EP
NOTE: All my 7” reviews were done with the lights out this issue. WHAT I THOUGHT IN THE DARK: Song #1: I kinda like this, there’s a part that reminds me a little of some of the bridge in “Erotic Neurotic” by the Saints. Song #2: I kinda like this, it’s got a cool lead. Song #3: I kinda like this, probably because i liked the first two songs. Bonus Track: HEY! “THROW IT AWAY” by the GERMS!!! I LOVE this song! This record is cool! WHAT I THOUGHT WHEN THE LIGHTS CAME ON: That was about it, since the record didn’t come with a picture sleeve. BEST SONG: “Throw It Away” BEST SONG TITLE: “Throw It Away” FANTASTIC AMAZING TRIVIA FACT: I like everything the Germs ever recorded in a studio, EXCEPT for the GI album, which is kinda weird, if you think about it. –norb (Jonny Cat)


FITTS, THE:
II: 7"
Headed by Alicja of the Lost Sounds (who also runs the excellent Contaminated Records), this all-female trio plays what I suspect most all-lady bands want to when the world’s sucking something awful. The song titles say it all – there’s no love loss: “Contaminated (By Your D*!#@K)” and “Girls Like U (Deserve 2 Die).” But, shit if it ain’t catchy in a Pixies, early Breeders way where there’s creepy, almost intergalactic, fungus seeping in on the edges, recorded excellently where it’s all raw and chafed as an untreated infection, and none of it sounds like mud. As it should be. –todd (Big Neck)


FILTHY VAGRANTS:
Watching Them Burn: CD
First off, I think this might have been recorded and released a little prematurely. I can’t get over hearing the vocalist fall in and out of time, straining to squeeze in the lyrics. The vocal delivery is similar to Tim Armstrong of Rancid’s style. The music has sort of an early period Good Riddance sound. If the music was played tighter, the songs would come off stronger. I know metronomes suck, but I think it’s needed here. The intent is there but this release is hard for me to listen to. –don (Ninety-Six)


FACE FIRST:
Ignorant Assholes: 7” EP
By-the-numbers, vaguely metallic hardcore with a pissed off singer who seems to have some issues with women. I find it interesting that they claim in one song to see right through “racist nazi pig[s],” and then parenthetically title a song “Whoriental” four songs later. I guess if it’s in her “nature to be such a whore,” a little hypocrisy never hurt, eh? Methinks the title they chose is a tad more fitting than they intended. –jimmy (Rat Town)


EYELINERS, THE:
Sealed with a Kiss: CD
Even though the whole pop-punk, Ramones/Screeching Weasel thing has been done to death, the Eyeliners still manage to make it sound fresh. Part of that has to do with the vocals. Laura can sing so fast and so clearly that I can’t decide if I want to sing along or just listen. The songs are full of hooks that dig into my brain and reel me in. And the music is just plain fun. But there’s something more. I liked the last Eyeliners album a lot, but something seemed to be missing. The songs seemed too simple. Too poppy. Then, I saw the Eyeliners as Al’s Bar a while ago, and the same songs were no longer too simple or too poppy. They rocked. That’s when I noticed that, on the last Eyeliners album, for some reason, the vocal’s were cranked way up in the mix and the guitar was hidden. Which is a shame, because Gel is a rocking guitarist. She's all over the place when she plays live. Beyond that, though, she adds a powerful element to the song that was  ignored in the last album. Well, that’s not the case with Sealed with a Kiss. The energy and power of the Eyeliners live set is cranked up, and the band is better represented. The songs are still poppy and catchy, full of hooks and fun as hell. They just rock more on this album.
-Sean
–sean (Panic Button)


FUGAZI:
Furniture + 2: CDEP
At first, I didn’t understand why Fugazi released an EP and a full-length album at the same time. Especially since there are no overlapping songs. When I listened to the full-length and the EP in order, it made perfect sense to me. While The Argument breaks off into new musical directions, Furniture + 2 is more reminiscent of Fugazi’s earliest stuff. All three songs have the driving rhythm section, the perfect melodies, and the moments when everything explodes that made 13 Songs such a great album. Listening to these new songs more than a decade after the first Fugazi album, it’s easy for me to see how I was so blown away by Fugazi in the first place. And I try to avoid talking about the lyrics because, well, if I go around quoting Fugazi lyrics, Jimmy Alvarado is gonna make fun of me. But when Ian asks “how many times have you felt like a bookcase… full of thoughts already written?” I actually do feel a connection. The tough thing about  Fugazi is that so many bands have done such a bad job of ripping them off that it’s almost given Fugazi themselves a bad name. Then, this EP comes along and makes them impossible to discount. -Sean
–sean (Dischord)


SLIM CESSNA'S AUTO CLUB:
Self-titled:: CD
Are you kidding me? I’m gonna review a country album in Razorcake? That’s crazy. But I have a confession to make. I was raised on country music. Some really horrible stuff like Glen Campbell, but also great stuff like Waylon Jennings, Johnny Cash, and David Allen Coe. When my parents’ record player broke, I stole their Hank Williams Sr. album. It made me realize that the music that’s called country these days is just pop with a southern accent, and that country music, as a genre, can be pretty good. And Slim Cessna’s Auto Club has their shit down tight. They learned a lot from early country pioneers like Hank Sr. and Jimmy Rodgers, and they put together songs that make me daydream about hopping a freight train or driving a truck. The songs are slow, sure, but they’re so well layered with accordion and banjo and everything else that the songs are never boring. And there’s something really cool about a guy who can play a pedal steel guitar  well. Anyone who’s been listening to punk rock will admit that you can’t listen to punk rock all the time or you’ll get burned out. Every now and then, you need something to cleanse your musical palette. Slim Cessna’s Auto Club is perfect for that.
-Sean
–sean (Alternative Tentacles)


FUGAZI:
The Argument:: CD
I got the feeling with Fugazi’s last two full length studio albums (Red Medicine and End Hits) that they were trying to push songs into new directions, but they weren’t quite getting where they wanted to go with the songs. While they were both good albums, Red Medicine brought in jazz undertones that lost me and End Hits had arty moments that lulled me. Now, with The Argument, Fugazi has finally gotten where they seem to have been trying to go all along. Unlike jazz undertones that seek to destroy the structure of a song, The Argument builds a new structure to songs. They create and diffuse tension and travel all over the place, but always make it back to the underlying rhythm. And the power and anger balance out the art. All of the elements that make Fugazi a great band are in this album, but they finally seem to have come to such a firm understanding of who they are as a band that they can go beyond that. The Argument is an amazing album. Some of  the songs stand out on their own. “Epic Problem” is my favorite on the album and parts of it bring me back to Margin Walker. “Full Disclosure” blows me away in new ways. But what’s most impressive about The Argument is how it works as a whole. How all of the songs are completely different from one another, yet ebb and flow with perfect fluidity. It’s a tough album to review because it’s so different from anything else I’ve listened to that I can’t rely on buzz words, but, as a reviewer, that’s exactly what I love. -Sean
–sean (Dischord)


TIM VERSION, THE:
Creating Forces that Don't Exist: CD
This album has been on high rotation around Razorcake HQ. It finds its way into the CD player every day. We’ve burned copies for a bunch of people. When someone asks me what really cool new band I’ve heard lately, I say, “The Tim Version.” Musically, they’re somewhere between Panthro UK United 13 and Tiltwheel, which is a great place to be, musically. The songs can be at once a wall of sound and a catchy hook. They know when to rock and when to let the songs breath. And, like Panthro and Tiltwheel, The Tim Version can play a song that lasts over three minutes and I don’t mind at all. That’s a huge compliment coming from me. I can relate to their songs, too, whether it’s an abstract rant on our consume and die culture or just a simple statement in a song title, like “Hardcore Drugs Made Me a Better Person.” The Tim Version toured this summer with Tiltwheel and the Super Chinchilla Rescue Mission. I’m bummed out that they didn’t  come anywhere near LA, so I didn’t get to see them. In a perfect world, that tour would be recognized as a great moment in musical history. In an imperfect world, I still have albums by Tiltwheel, Super Chinchilla Rescue Mission, and The Tim Version. And that’s pretty good, too. -Sean


–sean (Attention Deficit Disorder)


EVIL ARMY:
Conquer Human Life: 7”
If you ever wondered what DRI would sound like with Glen Danzig crooning and providing the gloomy mental imagery, wonder no more. Evil Army embrace crossover metal, fronted by a dude who can sing punk-style opera and threatens to “Overrule this place with fire.” Better than Damnation and the current-day Misfits, that’s for sure, but not as good as Orange County’s Spooky or Japan’s Balzac if this is your bag of bloody halloween treats. –todd (Contaminated)


ENABLERS, THE:
Sweet Fuck All: CD
I think the singer is trying to be the modern Bruce Springsteen, even though the Boss is still putting out records. He sings in the same whispery gravel, and he’s got the science down pat. Too bad it just sounds like ass. The promo sheet said that they sound like Social Distortion, Leatherface, Replacements, and Hot Water Music. Seeing how I like three of those bands, and don’t mind the other, I feel offended for those bands. Maybe I should move to Portland, OR. –megan (Newest Industry)


EAT MY FUK:
Wet Slit and a Bottle of Whiskey: CD
Liquored up and with hustling, bustling ding dongs, Eat My Fuk lunge headlong into total fukkin’ GG worship, musically cloning (but with better production than) the mid-’80s “You’ll Never Tame Me,” but vocally closer to the GG of later years: hoarse and gruff. Problem is, Geege was so charming because he tried with all his might to outdo his heroes, and Eat My Fuk just tries to be GG. Very punkrockin’ and enjoyable if you can put up with all the hole-fingering, juice-gashing and face-loading of wads. –Cuss Baxter (Bestial Onslaught)


DISKORDS/LOW ROLLERS:
Split: 7"
Diskords: The first song, “Touch of Evil,” reminds me of “Tatum O’Tot”-era Red Cross. Their other track is a pretty pedestrian cover of “Summertime Blues.” Low Rollers: Lo-fi rock, one praising the ‘65 Thunderbird, and the other a cover of Elvis’ “Trouble.” –jimmy (Jonny Cat)


DISEASE, THE:
Dyslexic Experts in Reverse Psychology: CD
Holy shit, what a racket…. Take the synth chaos of a band like Le Shok, channel it through yer average grind band, dump it in a blender and hit “puree.” Don’t think I’m gonna be able to sleep too comfortably tonight. –jimmy (Alone)


DETONATIONS, THE:
Victim b/w Rayman: 7"
The A-side is the keeper and has the feel of the Gears, early Cramps, and a sprinkle of X (with the oscillating male/female vocals). Nervous, sketchy vocals, hollow-sounding guitars, jangling bass and solid songwriting that’s got a nice twang and groove. For the B-side, I don’t think it’d be a bad thing to cut some of the longer, slower fat that keeps the song together. It drags a little. However, that’s partially made up by the beautiful packaging: silk-screened fluorescent and silver inks, and a picture that looks like an alternate to early Briefs promo shots, but the band’s wrapped in explosives, not hit with bats and chains. –todd (Rhinestone/Detonations)


DOWN BY LAW:
windwardtidesandwaywardsails: CD
I’ve been dreading writing this review since the disc showed up in the mail. I had to special order this album when it came out to make sure I got a copy, expecting a return to the vintage form that DBL displayed in the first half of the 1990s, hoping that the four years which had passed since Fly the Flag would result in something which surpassed the greatness of Punkrockacademyfightsong, All Scratched Up and Last of the Sharpshooters, one of the best runs of great albums that any punk band ever had. To fully understand this review, you must also understand the following: I am a huge Down By Law fan. I played their first album in my first stint in college radio. Blue helped pull me through recovery after a major illness and surgery that laid me out for the best part of a year. I made out with my then-girlfriend while they played their cover of The Outlets “Best Friends” at The Palladium while touring to support Punkrockacademyfightsong. Hell, I took the name for my Web site from that album. All Scratched Up got me through one of the worst road trips and relationships of my life. Last of the Sharpshooters came along after my mom’s suicide and helped bandage some of those wounds as I recklessly tore San Diego apart on my mountain bike. If I were ever to get inked with any band-related tattoos, DBL would be the first. And I already have it designed. That’s the kind of shit you need to know to understand this review. And with all that said, this album disappoints me. I don’t suppose that I should be surprised, particularly given the ridiculously high expectations I had for it. I’ll start off as objectively as I can – superficially, this album is a return to musical form for DBL. The songs are short, fast and loud – it’s straight-forward melodic punk in the 1993-1994-era SoCal vein. The songs seem political but, again in the vein of vintage DBL, are primarily expressed in personal terms – simply put, people possess politics which are shaped and framed by their experience and DBL has always acknowledged that. And with all that said, there just seems to be something missing from this record. While Fly the Flag was, by and large, a forgettable album, this disc is infuriating precisely because it’s better than the previous release, because it echoes DBL’s great records of the past yet somehow still comes up lyrically short-handed with lines like “Now he don’t know but he’s been told / That no government ever had soul” and “No flag can help the Lone Ranger tonight.” And perhaps it’s the case that the tenderness and affection that DBL once expressed when writing about struggling with growing up (like “All American”) now finds itself framed in lines which seem trite to me (“Teenage nights / Lead to grownup days / That’s alright / ‘Cause you learn how to play”). However – and this is the hardest part of this review for me to write – if I’m going to be completely honest with myself, I suspect that this album is exactly the sort of thing that flipped my lid in all the right ways back in 1994 and 1995 and that if I had heard this album ten years ago, I probably would have gone nuts over it… but that was ten years ago. It’s not now. Some years ago, I wrote a bio of sorts for Down By Law and in it, I noted that punk rock was never supposed to be about the past; it’s not supposed to be about who you were, it’s about who you are and, more importantly, who you’re going to be because the best punk has always been about change, not nostalgia… or, to crib a line from DBL, “I’m looking forward to not looking back.” Over the past decade – hell, even over the past year – my tastes have changed radically and while I can listen to this album and hear something that would have had me down front at a show, howling along with every word when I was in my twenties, it doesn’t say much to me about who I am now, what I’ve seen and where I’ve been. In a lot of ways, that was always what I loved most about Down By Law’s music. The songs reflected where I was and who I felt I was; to crib from the new Give Up The Ghost record, I loved the songs because I lived the songs. In them I found a mirror that reflected me. And at this moment, the hardest part of being both a fan of this band and friends with people in it is that while these songs may speak to someone at the same place I was, all they say to me is that I’ve changed and that, while we can still be friendly and respect each other, our less-traveled roads have parted ways. –scott (Union)


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 755 756 757 758 759 760 761 762 763 764 765 766 767 768 769 770 771 772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788 789 790 791 792 793 794 795 796 797 798 799 800 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 823 824 825 826 827 828 829 830 831 832 833 834 835 836 837 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

Razorcake Podcast Player


·MACC LADS, THE
·CONGA FURY
·FAKE SURFERS
·Featured Book Reviews from Issue #86
·IN DECAY
·STABLER
·STIMULATOR
·PREGNANT
·VARIOUS ARTISTS


If you live in the Los Angeles area and want to help us out, let us know.



Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.



 
Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2015 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission


Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.