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

TENEMENT / FRIENDLY FIRE :
Split : 7”
Tenement’s single song doesn’t reflect the other material I’ve heard from them. It’s less bar rock guitar licks and economic Midwestern harmonies. Instead it sounds slowed down, thought-out, and great. The guitar licks are still there. But the neon signs are gone, and it’s too honest and genuine to even get upset about there being only one song on the side of the split. Friendly Fire lay down two tracks that spill the wine of emotive Dischord hardcore and Chicago punk. If you see these bands’ records, buy them. –Daryl Gussin (Forcefield)


SW!MS, THE:
Itemlord: CD
Song craft, fuzzed-out guitar tones, and adventurous instrumentation gives this music all the muscle of a great album. But The Sw!ms’ strengths are also its weaknesses. It’s like how a triceratops’ horns may have over evolved, making them too big for the dinosaur’s head. Well, in The Sw!ms’ case, it’s more like their court jester hat got too big. So big, in fact, that it cloaks them in renaissance faire-style clothes. From the album’s first track, “All Is Nice,” there is the exotic sound of a tin flute playing classical melody. And even the CD package plays the part with its psychedelic acid rock throwback cover art of bright shades of green, yellow, purple, and blue. It’s got the band members sitting in cartoon thrones with penciled-in, colorful garb holding various staffs. The album is laced with high-pitched Moogs and fuzzed-out instruments touching on ‘60s pop and psychedelic influences. Think Captain Beefheart without the beef. These songs pack no bite, rending a PG rating that would have hippie parents salivating at the chance to start a drum circle with their freshly patchouli-ed toddlers as Itemlord blasts in the background. Sw!ms have got the art of pop song writing down and a niche, to boot, but, for most people, the renaissance faire might be a once in a year extravagance. –N.L. Dewart (Wall Ride)


SURPRISE SEX ATTACK:
…A Romantic Interlude: CD
This album is straight ahead sloppy hardcore. These Aussies mix varying influences into their punk from metal a la “Violent Youth” and “Cunt Metal” to ska with “Up to Loose.” The track “Jihad Baby” includes Middle Eastern chanting for the intro. This is a decent album with my only complaint being the tracks falling off the beat a little too much for my taste because it prevents their tunes from hitting as hard as they potentially could. –N.L. Dewart –Guest Contributor (Live Fast Die Drunk)


STRAWMEN:
Jack Rabbit: 7”
If you can dig this, the beginning of the first song (“Jack Rabbit”) on this record sounded to me like an alt-country/country-punk version of Motörhead’s “Ace of Spades.” Interesting! From there, it quickly moved on to some kind of Starvations/New Bomb Turks hybrid, although, if you listen closely, you can hear that underlying “Ace of Spades” guitar riff throughout. It’s a pretty good song. The next one up, “Sour and Vicious Man” is great, I really loved it. The vocals are excellent and reminded me even more of the Starvations than the first song. There was an added harmonica, the pace was slow, and the tone was kind of blackly ominous à la Munly And The Lee Lewis Harlots. Upon closer inspection of the insert, I learned that it’s a cover of a Greg Cartwright song (explains why I liked it so much), and I actually have it (it’s on the Compulsive Gamblers’ live LP), so I was a little surprised that I didn’t recognize it straight off (I love that Gamblers record!). I’ll have to listen to it again. The Strawmen’s third song, “Red Barn,” features some fast acoustic guitar strumming and is also pretty good. The artwork on the cover of the record is really nice, despite the fact that the rabbit therein has seen better days. In all, it didn’t blow me away but it’s a solid effort and I’d be interested to hear more from these three Canadians. –Jennifer Federico (Foul & Fair)


SPACE CRETINS:
Direct from the Superfreak Highway: CD
…i actually totally do understand why some musical outfits attempt to present themselves as glammy, punky, intergalactic Rock Savior™ types, regardless of the health/cred risks involved with such a caper: It’s usually a sure sign that the parties involved have become BORED OFF THEIR ASS with the sonic and aesthetic drabness of their surroundings, and are attempting, with one mighty strum, to wash the bleach away and erect ((giggity)) temples of color and sex and neon and shiny silver stuff and monster movies and action figures and Japanese consumer products that use a lot of magenta in the packaging and Mud videos and “Rock & Roll Part. 2” and the like—all of which, of course, i find to be reasonably well-intentioned. IT’S GOING TO BE A NEW ERA OF JET BOOTS AND RAD HAIR AND OUTDATED LOOKING LASER PISTOLS, I TELL YOU! However, aligning oneself with said quantities and actually recasting Planet Earth in your ((real or imagined)) image are two different things, and, although i bear the band no particular malice, it is my considered opinion that the War On Yuck™ is a photon torpedo battle, and the Space Cretins have showed up armed with a taser. I mean, the music is played competently and recorded well, but the album sounds, at best, like Paul Stanley or someone singing over some of the less-exciting songs off the first side of “Road to Ruin.” Or maybe it sounds kinda like some band on Epitaph ((is Epitaph even around any more?)) who stumbled across a Sigue Sigue Sputnik album, or if the Zeroes with the purple hair and the Action Swingers got Vulcan mind-melded ((which might be cool)) but then got left out at room temperature for too long until most of the interesting bits melted away. The band’s one real stab at glam ((a la the Lee Harvey Oswald Band, essentially the touchstone of the last thirty years of the genre)), “Straight to the Edge,” kinda fizzles simply because Paul Ace Diamond Blow’s pipes simply aren’t interesting enough to carry the load a la Bowie/Butler/Fenderblast ((though he tries admirably)). In any event, there is a game design postulate espoused by Sid Meier ((the guy who did the game Civilization)) that states that if any element of the game design isn’t working, you should either double it or cut it by half – that is to say, either CRANK IT or bury it. “Direct from the Superfreak Highway” is a nice try, but these guys had best commence ta crankin’ and buryin’ if they want to give this reality the Technicolor™ throttling it so richly deserves. BEST SONG: “Rocket Roll” BEST SONG TITLE: “Rockets On” FANTASTIC AMAZING TRIVIA FACT: The album packaging uses the font Dirty Headline, which i once used in a video game. –norb (Killing Pig)


SONS OF TONATIUH:
Chain up the Masses/Oracle: 7”
I’m not an expert on the style of music this band plays, but I have seen a few bands that I can compare them to. For reference, I can hear the sounds of bands like Eyehategod, Sourvein, Weedeater, and 16. I’m guessing the genre that would fit them is doom. The lead track even draws hints of crust punk when things speed up for a bit. But what stands out is the downtuned, hard-hitting metal in the slow to barely mid-tempo speed. The vocal delivery is pained with shrieking screams. Guitar riffs have the sound of Black Sabbath on their best day. A bass guitar drones and plods along, keeping the mood low and the pace consistent. Drums are pounded out with sheer fury. I would not want to be reincarnated as a drum head for this band. –don (Sons Of Tonatiuh)


SONIC’S RENDEZVOUS BAND:
Live, Masonic Auditorium: CD
As a devout teenaged Creem reader circa 1979-1981, i knew who Sonic’s ((also spelled “Sonics”)) Rendezvous Band were ((Fred “Sonic” Smith of the MC5 and Scott Asheton of the Stooges, among others)),but i can’t say as i ever heard ‘em—part of this may be due to the fact that they only released one single ((and THAT with the same song on the A-side and B-side, spuriously demarcated as “STEREO” and “MONO” even though no actual difference apparently existed)); another part of this equation might have been that in 1979, there was no FUCKING way i was going to listen to a group called “Sonic’s Rendezvous Band,” simply due to the fact that their name clearly indicated that they were part of That Which Was, and not part of That Which Is Surely Overturning That Which Was ((in other words, had they been named “The Pukes” or “The Burps,” i probably would have been all over ‘em)). Rightly or wrongly ((and it’s lookin’ like “wrongly”)), i ignored the band ever since…which was, if this mastered-off-a-C-90 seven-song live set is any indication, a moderately embarrassing error on my part. Now, granted, song lengths run a little long for punk-damaged attention spans ((3:31 on the low end to 7:18 on the high end, with a median length of 4:57)), and maybe these guys didn’t fully hate Led Zeppelin, but at least they knew the difference between good Zep ((e.g., “Communication Breakdown”)) from bad ((e.g., anything where Robert Plant sounds like a warbling brain-damaged lesbian folk singer…which is, one supposes, practically everything that isn’t “Communication Breakdown”)), and mostly they just sound like what the Saints might have sounded like were they from Detroit and not Australia and Ed Kuepper poisoned Chris Bailey’s Ho-Ho’s® and replaced him with a particularly nimble barbarian, crossed with a ten-years-more-modern version of the MC5. This is the type of thing that really makes the listener appreciate speaker cones. Rock ‘em back, Sonic! BEST SONG: “Electrophonic Tonic” BEST SONG TITLE: Curiously, it’s also “Electrophonic Tonic.” FANTASTIC AMAZING TRIVIA FACT: Recorded January 14th, 1978, while opening for the Ramones, on the same day the Sex Pistols played their last show. Liner notes claim that this is clearly some manner of “torch passing”— if so, it marks the first time that said metaphorical torch has actually been passed backwards. Be this as it may, i’m inclined to believe that the Detroit Derby Girls hold their bouts somewhere in this same building. –norb (Alive)


SOFY MAJOR:
Self-titled: 12” EP
…i’ve always viewed Metal as something akin to jenkem, minus the purported high. N.A. Jenkem, if you will. However, on certain rare occasions, the Gods Of Metal part the black clouds of the Inverted Hades Atmospheric System, and i—very briefly—get a whiff of something i would imagine is roughly akin to a jenkem buzz. I mean, it still smells like shit, but at least you’re feeling something, somewhere, you think. In any event, as this grooves-on-the-one-side-silkscreening-on-the-other platter began its initial revolutions, i thought perhaps such a time was upon me, as the intro guitars were grinding together in a mildly arresting manner, and i thought perhaps i heard the alluring whine of a distant drag race in the background. Unfortunately, it turned out to be just a bunch of weird moaning, with the singer, who probably has a half-decent voice under normal circumstances, straining his voice idiotically in some attempt to manufacture a functional screech. Bah. Death to false jenkem! BEST SONG: “Meutre a Lezoux” BEST SONG TITLE: The whippersnapper in me wants to say “Satan,” but my left brain tells me i must admit it’s “Need a Spank?” FANTASTIC AMAZING TRIVIA FACT: Gatefold notes indicate that “THIS IS DIYED SOUND. BURN IT.” Don’t mind if i do. –norb (Emergence)


SO COW:
Self-titled: LP
So Cow is a one-man lo-fi indie pop act from Ireland. This record was recorded over the course of three years and is more a collection than an album. The variety of sounds—including Casios and weird noises, along with the tape hiss and varying fidelities on different songs—keep things from getting samey. The songs are smartly written and lyrical, with a bit of an Elvis Costello flair. I’ll definitely play this a few more times. It’s a breath of fresh air for people who have been known to take sweaters and tea over hoodies and coffee, but still think that some of the current twee revival bands are too tight-butt and affected. –CT Terry (Tic Tac Totally)


SKULLCRANES, THE:
Columbia Heights Nights: CD
Humorcore punkers, The Skullcranes, barrel out of the starting gate. With galloping garage punk rhythms and solid beats, the album revolves around beer, being broke, and smoking herb. “Douche” throws in a banjo as a comical oddity to bridge verses, but “Jessica Lange,” who they have an unexplainable crush on, is my favorite track, hands down. Funny stuff for those who like to laugh while they’re circling the pit. Recommended. –Kristen K (Crustacean)


SHITTY LIMITS, THE:
Espionage: 7”EP
Total mongo rock in the vein on Henry Fiat’s Open Sore and Dean Dirg, but they sound British instead of Scandinavian or German: obscured identities, bad teeth, bad breath, kidnapping scenarios, hammers and knives instead of guns, and band-as-gang affiliations. Tightly wound paranoia rock played pitch perfect. Nice. –todd (Sorry State)


SHIT GETS SMASHED:
Smash This Shit: 7”
The Battalion Of Saints meets Sin 34 came to mind when I dropped the needle and sat through the first side. Something about how the vocals are delivered and the guitar riffs are played. The vocalist here is female and the way she sounds reminded me how Julie from Sin 34 sang. This band bleeds early ‘80s punk rock, from their raw, almost home-studio-recorded sound to their three chord punk rock basics. If this band stays together past the two year break-up mark, I would like to see what they develop into. –don (Shit Gets Smashed)


SHELLSHAG / THIS BIKE IS A PIPEBOMB:
Split: 7” EP
Shellshag: Jesus, this is going to sound corny, but Shellshag’s songs sound like a handmade card made just for you on a special occasion. I understand that the record that’s spinning wasn’t made just for me, but their three songs are just so warm, personal, and direct. The nutshell is that it’s arty, noisy rock but not mechanical, pretentious, or privileged. Think Hickey, not a party where people look at one another’s asses, eyeballing for labels in envy and/or judgment. This Bike Is A Pipebomb: This is coming from a guy who, for the past eight years, alternates between two identical cut off pairs of grey shorts—there’s a comforting expectation with TBIAP. Within acceptable parameters, one knows what to expect from them—no techno, no made-for-ringtone songs, just fiery, catchy, stripped-down rock and folk, delivered, well, like folks who’ve been doing it awesomely well for years and years. Two originals and a Shellshag cover. Sing-a-long fun times. –todd (Starcleaner / Plan-It-X South)


SEXY:
Por Vida: LP
Musical regrets are a dime a dozen. But, I think this one hits many DIY punk folks more acutely. Por Vida was initially released on Onion Flavored in 2002/2003 in a pressing of five hundred. Poof. Gone. No re-press. And although the CD version remained (remains?) available for quite some time, I’m with you on this. The CD isn’t the same as the LP, especially with a band like Sexy that seems at home being played on shitty stereos with milk crates of records by the side. Christians can have their Easter Bunny, Buddhists can Big Wheel into the next life on their reincarnation wheels, and I’ll put my chips in with the importance of keeping great music (especially records) in print, long after other bands from 2002 are understandably buried and forgotten. It’s because this shit makes me feel happy and alive and good and human. Sexy’s great. Sexy’s dead. Long live Sexy. –todd (Thrillhouse)


SETH DREW:
The Road Back Home: CD
Seth was the lead singer of SuperChinchillaRescueMission, a favorite band of mine when they were around. After the band’s break up, Seth moved from Louisiana to L.A., sobered up, and put an incredible amount of time and energy into becoming a union electrician. He was also a Razorcake columnist for awhile; his stories were all forthright, full of real detail, and sympathetic. Seth then relocated up to Portland, Oregon where he still lives. Knowing all of this about Seth, it would be a big mistake to make the assumption that the reason that he recorded a solo acoustic record was because other punk notables—like Tim Barry of Avail and Chuck Regan of Hot Water Music—had done the same. I’ve always had a high regard for Seth. His creative work is poetic, stark, and un-aggrandizing, even though his work deals largely with lives lived hard and restless. I’ll be honest; ten years ago, I wouldn’t have given this quiet, burning-ember music much thought. But with the time passed and bands like Whiskey & Co. and The Evens using quiet music not for sleepiness but introspection and looking at the more subtle hardships and softer beauties in life, The Road Back Home is an honest testament to life and music. Funnily—because I’m writing this in L.A. and days like this don’t happen often—it’s raining outside, a soft patter, and it sounds almost like Seth’s playing in the front room. And that sounds like the perfect accompaniment to today. –todd (Self-released, sethdrew32@hotmail.com)


SCREAMING FEMALES:
Power Move: CD
Blistering, howling, incapacitating, surreal music that draws heavily from Jefferson Airplane, Black Sabbath, Bikini Kill, and Sonic Youth. While trying not to trample the term weird punk further into the ground; I classify Screaming Females with modern day oddity bands that are all fucking rad at what they do: Shellshag, anything with John Geek, Hunchback, Stupid Party, Eddy Current Suppression Ring, and any other group around that’s using more than three effects pedals and not annoying the fuck outta me. Pick up this album and let Screaming Females lead you into the deepest caverns of your psyche. It’s a trip worth traveling. –Daryl Gussin (Don Giovanni)


SACRED SHOCK:
You’re Not with Us: LP
A lot of the time when I go to a hardcore show or a metal show, afterwards I walk away talking about how blown away I am by how tight, fast, and intense the bands were. My girlfriend usually then will ask if I want to go buy the band’s record and almost always I find myself saying “Oh, no. I would never listen to that at home.” That’s the feeling I get with this record. These dudes probably slay live. The band is supremely solid, plays with epic ferocity, precision, and speed. But, at the same time, you won’t ever catch me pitting in my room to this. For a quick description, imagine if the Husker Dü that recorded Land Speed Record got angrier, louder, and faster over time, maybe dabbled in metal crossover territory, rather than going on to record New Day Rising or Flip Your Wig. As a matter of personal preference, I enjoy the latter more so than the former, which isn’t to say that there aren’t folks out there who wouldn’t enjoy this record. I’m sure some of you are certainly going to salivate all over this, and I might even join you at the shows. This just isn’t going to get a lot of plays on my turntable. –Jeff (Residue, residue-records.com)


RUNNAMUCKS:
Clawing Back: LP
This band has been kicking around for years now, touring and putting out records. They work hard but they tend to get overlooked, which is mega unfortunate. Hopefully, this record will change that. All of the songs are distinct, incorporating different textures, while still falling within the boundaries of hardcore. Those boundaries are tested, but not, ummm, Fucked Up. The musicianship is top notch. If you want to hear an example of a modern hardcore band that knows what to do with a guitar, you’ll find it on this slab of wax. Quick, bright, and brilliant solos are sprinkled throughout. The one at the tail end of “Never be Mine” is a standout. They also bring in a piano, adding some simple key thumping over “Goodbye Sweet Nothing.” The best part is that it all still sounds raw. It still cuts. –mp (Six Weeks)


ROXY EPOXY & THE REBOUND:
Band-Aids on Bullet Holes: CD
1) I love the Epoxies; 2) I have no idea what happened to the Epoxies; 3) This sounds more or less like it could be the third Epoxies album, so, y’know, whatever. I mean, i suppose that the Epoxies sported a more 1979-81 type of new wavery, and this is more of a 1981-84 vertical slice—i.e., more Adam Ant than Adam & The Ants ((although that’s a pretty poor point of reference)), or more MTV than Fridays—but, other than that, it’s still Roxy’s voice, taut and well-separated guitar / bass / drums, and synths which make deep, cerebral farting sounds, so i can’t say as i have a wellspring of complaints on the matter. The opening track, “Walls,” does have a sort of “Gypsies, Tramps and Thieves”-ish 2/4 beat to it ((under all the deep and cerebral synth farts and what-not)), which seems like some manner of subliminal Cher-channeling to me—but, i mean, you’d imagine that if the Epoxies had lived long enough to emit a third album, they would have expended most of their leftover punkarooni anyway, and be more Radio Hit than Nerd Orgy at this point, so what’s the diff? Only thing i find troubling about this record is the absence of one or more “Need More Time” type smasheroonis… which, i suppose, could be fairly troubling to investors. I’ll review my portfolio immediately. BEST SONG: “
New Way
” BEST SONG TITLE: “This Twist” FANTASTIC AMAZING TRIVIA FACT: I don’t really care for the graphics, and i actively dislike the typography. –norb (Metropolis)


ROTTEN, THE:
Enemy of the State: CD
This is everything I should like in a punk band: repeated choruses sung with a snotty voice, power chords, and a band named after decay, but something’s not right here. The production is extremely pristine. They’ve got the typical ode to hating everything with the song “No Good At All,” but something about the calculated list of cops, politicians, and hippies just makes the tune typical. By the end of listening to this CD, I’m still left deciding if it’s good or not while no guitar hooks or vocal hooks are left stuck in my head. –N.L. Dewart –Guest Contributor (Rebel Time)


ROGER MORTIS:
The Cadieux Demo: CD-R
‘80s hardcore (I hear some MDC in there) meets post-hardcore dance punk (a weird way of saying catchy indie rock). If they were to ever put out a LP, odds are it would be good. But odds were also good that Johnny Rotten would be dead by now, so who knows? –Bryan Static (Self-released, myspace.com/mortisroger)


RIVERBOAT GAMBLERS, THE:
Underneath the Owl: CD
This is a new release that I felt equally intense emotions of fear and excitement about. Excitement because the Riverboat Gamblers are without a doubt one of my favorite bands of the last decade, and fear because I don’t know if they can match the near perfection of their previous two records. The preview single released by the label, “A Choppy Yet Sincere Apology,” was utterly dreadful in a radio friendly manner. Turns out that song is the low point of the album in a Smashmouth-esque kind of way, which is baffling why they chose that song for the fans to have as the first impression off the new album. Underneath the Owl starts on a strong note with guest vocals from Todd C. of URTC/Toys That Kill/F.Y.P./Recess Records for a fun, sloppy little number entitled “Dissdissdisskisskisskiss.” Other standout tracks include “Pilgrims in an UnholyLand,” which starts with a reggae-influenced instrumental before getting to an anthemic punk rock chorus, and “Robots May Break Your Heart,” which successfully shakes things up with vibraphone front and center, played by none other than L.A. punk legend D.J. Bonebrake. The vibe of the new record is closer to the introspective tendencies of 2006’s To the Confusion of Our Enemies more than the all-out rock of 2003’s Something to Crow About, although not quite as successful as the previous two outings. However, there’s still plenty good to not rate this record as a disappointment. I look forward to seeing the new songs given room to breathe in a live environment. Knowing the Riverboat Gamblers, they will tour solid for the next year or two to support the album, so I’ll have ample opportunities. –Jake Shut –Guest Contributor (Volcom)


RIPPERS, THE:
Why Should I Care About You?: CD
Dunno if this is the same band I reviewed for Flipside way back when, but if it is, it seems they’ve given up seeking stardom in the ‘77 punk camp and have instead opted to go for something that occasionally sounds like a punked-up early Yardbirds. An admittedly weak description, I know, and one based on the lack of fuzz in the guitars, but that’s what comes to mind, and it’s not exactly a bad thing. –jimmy (Slovenly)


REVILERS:
Isolation: 7”

A really nice record from the four-piece punk rock band out of Boston: sharp guitars, edgy vocals, bombastic beats. “Isolation” begins with an intro sample that’s really funny and “On the Outside” closes out the record with a tune that’s mournful and melodic. The first side’s got a little SoCal sass but the flipside is very English. Highly recommended.

 

 

–Jim Ruland (Patac, myspace.com/patacrecord)


RETICENTS, THE:
EP I and EP II: CD
Loud hardcore stuff that has enough of a “meathead” feel to give it some anthemic heft, but with a bit more intelligence mixed in to keep them from sounds like, well, meatheads. Not bad at all. –jimmy (Zodiac Killer)


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


·FT (THE SHADOW GOVERNMENT)
·AGAINST ME!
·WONDER YEARS, THE
·Interview with Intifada
·ORDER OF THE WHITE ROSE
·TOM TOM MAGAZINE #18
·SERIOUS
·LETTERS IN BINARY
·I KEE YOU


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.