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Record Reviews

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MAKEOUT PARTY, THE:
Self-titled: 7”
The Makeout Party have been doing their homework. I won’t lie. I thought they sucked for quite a while and would invariably walk out when they played. This 7” changes my opinion of ‘em for the better. They’ve made a great two-songer of jangly, shakin’, heart-of-gold, ‘60s pop with dirty fingernails. Think AM radio when it was vital and of suburban punks channeling Smokey Robinson and the early Stones, and you’re in the right mind frame. It’s no stretch to maintain that fans of the Reigning Sound would dig ‘em. My only small complaint: they could wrap their songs up a little quicker. Cool shit. –todd (Kapow)


MAHARAJAS, THE:
A Third Option: CD
Garage is not my forte, but I do like it from time to time. It has to really move me on the first listen, but I have become such a fan of one particular label out of Sweden. Everything I have received thus far is so good. Last year, this label introduced me to the band the Maharajas. Unrelated Statements was the CD. First for the label, second for the band. On first listen and repeated listens, this band touched me. With a little research I found out this band consisted of former members of the Strollers, who were a favorite of mine, and a member of the Maggots. No one wonder they were so good. Being a music geek and reviewer, going to Razorcake HQ to pick up review material is always exciting to me; pulling packages out of my inbox to see what treasure might pop. When you see the international packages, that is a bonus. I see a familiar return stamp and rip the package open to eye its contents. Yeah, baby! A new Maharajas CD! Flawless, just like their previous release, this band takes their experience in a genre they love and continue to make great music. They have a magic hand of infusing a variety of sounds into their brand of ‘60s garage punk. You can hear elements of surf, psychedelia, and rock throughout. But the ringer is the knack of consistently making it melodic and catchy. They’re a band that makes you hum after a few listens. The other magic of their recordings is that they can pull off a lo-fi recording but sound highly produced. Musicians in tune with their instruments. The guitars are clean but precise. The drums sounds are bold and the cymbals are bright. Keyboards infuse that emotional energy making the listener feel the song. Bass notes that round everything back together but are individually important. Now with two releases that have impressed me, I hope they make it over to the States for a tour. –don (Low Impact)


LORDS OF ALTAMONT:
Lords Have Mercy: CD
I like the slithery “Action” most here, and the rest of their trashed out Nuggets/fuzz rock ain’t too bad, either. Lyrical subject matter is about par for the course—“Tough as Nails,” “Live Fast (Die Young),” a tune about masturbation, another about killing an errant lover—but the music is pretty good. Great cover of The Chambers Bros. “Time Has Come Today” tacked on at the end, too. –jimmy (Gearhead)


LOCKDOWN:
For Today: CD
Lockdown is an Italian band playing that Epitaph/Burning Heart style “punk rock.” Nothing super groundbreaking here, just some poppy, punky stuff played proficiently. The fun part about this is the lyrics. Broken English sung brokenly. Not that I’m in any position to be poking fun. I guarantee that their broken English is a hell of a lot better than my broken Italian. The thing that cracks me up every time I listen to it is the fact that the broken English lyrics happen to contain stuff that would make Tesco Vee cringe. Seriously, there is stuff to “kill your dick to all night long.” Nice work, boys! –ty (Akom)


LEFTY LOOSIE:
Lefty Loosie’s First Tape: Cassette
Another reviewable I was handed at The Fest, though I didn’t even remember getting it until the next morning when I was asked if I still had it. Again, luck of the draw—I managed to lose my cell phone, but I had the tape. And I’m glad I didn’t lose this. It’s hard for me to listen to a tape. I’m not that nostalgic for cassettes as a format, I hate not being able to skip tracks, but more than that, my walkman just broke. But through all this (I know you, dear reader, were concerned) I did make it to listen to this. Multiple times, actually. As the soundtrack to a few friends over for drinks it’s great: female-fronted, folky stuff with a bit of bite. When I listen to it by myself, though, I still like it, but I find myself focusing on the vocals, which tread too closely (and sometimes over) the out-of-tune line. I have a feeling that it’s something that I won’t mind, and may even find endearing after getting a bit more used to it—which is exactly what I plan on doing. –megan (Lefty Loosie)


LAGWAGON:
Resolve: CD
I would be the first to admit that I have too much music. I buy it, trade for it, and obviously get a lot to review. I am very possessive of what I have. I am not too quick at going through and thinning down the collection and removing items I will never listen to ever again. I have thinned down the CDs only a couple of times in the last ten years. So the problem is, “Can I remember a lot of times what something sounds like?” No. Only a small percentage gets on a heavy rotation. A bigger percentage gets on the ipod. But that is way under the fiftieth percentile. One of the bands that I don’t listen to that often at all and have never gotten rid of their releases is Lagwagon. They have been around for fifteen-plus years now and I have many of their releases. I listened to each of them a few times and filed them away to be never pulled again. But those few times I did purge, I could not get myself to relinquish my ownership. So here I am again. Another new release and I like what I hear. A coming home of sorts. Hey, they put melodicore on the map as much as NOFX and Bad Religion did. So as I sit here and type and listen to their new release, a funny thought keeps running through my mind. Man, this sounds like Pulley! I do pull out the Pulley releases from time to time. But the reference should be in the opposite direction. Lagwagon has been around longer than Pulley and most likely influenced them. But the sound to my ears is undeniable. The resemblance is almost uncanny on this release: straight forward melodic punk that they have been the flag carriers for over a decade and clean guitars over solidly recorded bass and driving drum sounds that makes you feel energized. The songs have the classic sound but also continues to show growth in their song writing. Instead of a burst of energy and stopping, there is more focus on the emotion of the song. “Automatic” clearly expresses that thought. There is also that underlying tone of sadness in the songs. The tragedy of the death of original drummer Derrick Plourde seems to have really shaken up the band. It is written that after the incident, the band wrote this album in a few short months. A sad circumstance really pushed this band. Loyal fans have already bought this. Newcomers who are curious will not go wrong if this is the genre that they are looking for. Now let’s see if this ever comes out for another listen after it gets filed. –don (Fat)


KUNG FOOLS:
Self-titled: 7”
Everyone once in a while the review shelf is a treasure trove. I admittedly grabbed it for the guys dressed as the Mummy, Dracula, and Frankenstein on the front. But it power pops! Like the Mummy, the band is now long gone—these are four never released songs from 1995. Joey Ramone vocals over flowing guitars and cymbals, swift Minneapolis coolness. Extra points for the insert—an autographed photo of Baron Von Raschke and the liner notes: “We never believed in nostalgia. Instead, consider it a musical postcard from the Rebel Nation, rescued, at long last, from the dead letter office.” –mike (Super Scenes)


KISS KISS:
Self-titled: CD
Some nice arty, avant-pop here, with a wild sonic pallet, a range of influence, and some mighty strong songwriting. The fact that they thank “God” right off the bat in their “thank you” notes makes me a little nervous, but the music here is pretty danged good, with enough weirdness married to the pop to make for some interesting, slightly off-kilter tunes. –jimmy (Eyeball)


KING AUTOMATIC:
Automatic Ray: CD
How does a French one-man band manage to sound like some of the best ‘60s and ‘90s garage bands? There’s nothing French about it—it’s pure grease trap gristle. Could it be his stage schematics? His fuzzy chops (those, too)? His Jon Spencer snarl? The Farfisa? The thumping bass? The Chuck-Berry-on-‘shrooms guitar? Je ne sais quois! –thiringer (Voodoo Rhythm)


KILLING THE DREAM:
In Place Apart: CD
The margin of error for bands like Killing The Dream, that space between so-so and so fucking good, is oftentimes razorwire thin. It’s so easy for bands of this ilk to get toe tagged with a “sub par Tragedy” reference; bands with a melodic undercurrent that are simultaneously grounded in that feeling of “oh shit” one probably gets that second or so before one gets hit by a semi. I mean, don’t get me wrong, Killing The Dream is well-founded within the confines and restraints of the current hardcore crop, but they’ve managed to avoid the pitfall of “been there, done that” by giving us a complete package here—their vision as a band is ferocious as fuck, absolutely focused, and totally complete, and frankly, the picture they’re painting is a dark one, in a way that’s both beautiful and menacing. It’s a pretty stunning record, one that doesn’t let up from beginning to end. Recorded and packaged and (most importantly) performed excellently, these guys belong in the upper tier, and In Place Apart deserves repeated listens from kids who’ve already worn out their From Ashes Rise LPs but still wish Fingerprint were still putting out records. –keith (Deathwish)


KILLER SQUIRREL:
Songs for the Christmas Party: CD
Their delivery is still pretty rudimentary, but the sound quality is actually better and the songs are much catchier than the last time ’round. Loved the song titles, especially “The Cowboy Illuminati Get Their Revenge.” –jimmy (Operation Phoenix)


LOVE EQUALS DEATH:
Night Merica: CD
Sometimes it might sound good to me, but I still might not like it. This record was recorded superbly, but I’m just not moved. It kind of flies all over the map. I swear one song reminded me of Billy Idol meets Chemical Romance. Other songs sounded like they were mid-period AFI, Good Riddance, a little Bad Religion and even a little Less Than Jake. They sound like well-accomplished musicians but haven’t really decided on a niche. The last song is an acoustic number that almost seems like they are reaching for the audience that put Rise Against’s Swing Life Away on the modern rock charts. I have to say that I’m going to pass. –don (Fat)


LOVE EQUALS DEATH:
Night Merica: CD
I think anyone starting a band like this needs to start asking themselves some real serious questions. Does the world need another AFI? How about another Fallout Boy? Well, if those two bands are on a list of your favorites, should you be allowed to play music? Your intentions couldn’t be any more obvious. Hurry up and get on to MTV and stop trying to push this shit sound to the underground. –Guest Contributor (Fat)


(LONE) WOLF & CUB:
May You Only See Sky: CD EP
Metal can get too serious at times: either with the costumes some bands wear or just the content of the lyrics. Here is a band that the music sounds serious and is tough as nails, but they have a sense of humor. Titles like “I Swear I’ve Been to This AutoZone Before” and “If I Were a Snake I’d Be a Belt Now.” That is funny to me. By looking at the titles alone, I thought this band was going to be pop punk or something else that would be silly. But what came through the speakers was some heavy shit: heavy Black Sabbath riffage mixed together with some up-tempo poundage. There are also points that remind me of Iron Maiden with the dual guitar attack. Add those ingredients with some black metal and the description might be close. Now bang thy head. –don (HeWhoCorrupts)


LETTERS IN BINARY:
LETTERS IN BINARY: CD
Methinks this hardcore band listens to a wee bit too much John Zorn. –jimmy (www.conspiratorsinsound.com)


LEMURIA/FRAME:
Split: 7"
Lemuria sounds eerily like Half Fiction-era Discount—the woman’s voice is dead-on. I have no idea if that’s what they were shooting for, but that’s what I’m hearing, right down to the slightly off pop structures and lilting vocal rhythms. It’s good stuff for sure. But then I flip the record and I’m totally confused. What the hell happened to Frame? I really thought they were onto something on their recent split 7” with Karate For Kids. On that record, they seemed poised right on ye olde precipice between “good pop punk” and “really good pop punk,” but their two songs on this record sound like a godawful mix of Amber Inn and, ugh, Promise Ring or something. It makes my skin crawl and sounds like a watered-down soundtrack for an art film, like if emo came in Budweiser cans. Guys, what happened? –keith (Salinas/Art Of The Underground)


LEFT FOR DEAD:
Live: LP
I’m not a real big fan of live records, but this one sounds real good. The band was originally around in the ‘90s, based out of the Toronto area. The group disbanded and went on to other bands like Ruination, Haymaker, Cursed, and Chokehold. They got back together in 2004 to do a benefit. Seeing the opportunity, the event was recorded. Since I have no history of ever hearing this band before, this was a good introduction. Guessing from the time period, this type of hardcore punk was not prevalent around the world. There was a big ska, pop punk, and emo boom going on at the time. So a band like this would most likely be short lived due to the small support group at the time. But I don’t know the reason on their breakup. I do know that this record shows that I really missed something. The band was one mean mother to reckon with. The songs are fast and heavy, with vocals screamed at damaging levels. If you have heard the output of the bands they went on to, you can hear what they carried with them. –don (Deranged)


LAWRENCE ARMS, THE:
Oh! Calcutta!: CD
Somehow, this is my first time hearing the Lawrence Arms. Their name was always bundled with Jawbreaker (as in “they sound like…”), and none of those bands that were supposed to sound like Jawbreaker ever really delivered. (You heard me.) So the Arms stayed under my radar and I can’t put Oh! Calcutta! in context with however many previous records they have. [Dramatic pause.] But this one is good! While Jawbreaker’s songs belied its members’ youth, the Arms still have a distinct feeling of “excited kids.” Even with most of the lyrics sticking to bummer territory, there’s an audible joy to be playing fast and yelling. WARNING: This next part of the review contains a SPOILER regarding the album’s SECRET TRACK. The Arms do country-rock, a catchy disillusionment/oh-yeah-that’s-why punk anthem that sounds as genuine as any other decent alt-country act. But those bands probably don’t write songs about punk rock or reference His Hero Is Gone in their lyrics. I’m seriously impressed. –Guest Contributor (FAT)


LAWRENCE ARMS, THE:
Oh! Calcutta!: CD
It’s been a good four years since I really listened to any output from this band. It was the Apathy & Exhaustion LP and I remember liking it enough to keep it. Doing a little research, since it seemed odd that I haven’t heard anything in four years, they did release something a couple of years ago. This band seems to have matured greatly. The songs and the tones coming from their instruments have a deeper emotion to them. The time that they have now been together has really made them into one cohesive unit. I’m not an Against Me! fan, but that is what it sounds like to me but mixed with a little Hot Water Music and adding a more melodic touch to the songs. The delivery is strong, and I can feel the conviction of the band. Looking at the liner notes, they recorded the songs on analog. I thought that the songs had stronger tone than what usually comes out of the studios that are recorded on the computer with ProTools. The bass tones are warmer and the highs are less harsh. Also, if you have recorded in analog, you know you have to be dead-on when recording. There is less room for error. So these guys were well rehearsed when they went in to record. It shows. They may not be one of the larger bands of the genre, but they are definitely one of the better ones. –don (FAT)


LAST VEGAS, THE:
Seal the Deal: CD
I’m hearing less “punk” and more Nugent-style rock-in-overdrive (minus the lame sex metaphors) here, which ain’t exactly a bad thing. Hell, I’m just pleased they ain’t another buncha Dolls clones. –jimmy (Get Hip)


LAFCADIO:
Sham Duvet: CD
This Indianapolis-based noise metal band delivers their nine-song debut with a schizophrenic energy reminiscent of Mr. Bungle mixed with Deftones, Faith No More (or anything Mike Patton’s had his hands in), Don Caballero, and your average noise band. There’s a definite prog edge to the music with vocals that range from hardcore screaming to singing and metal growling to spoken word. Of course, to add to its immensity, Sham Duvet is a concept album and the lyrics read just like the chapters to a book, laying out the tale of the protagonist, the aptly named Sham Duvet. As their website says, he “is a neurotic/prophetic figure with a messiah complex.” This whole thing wasn’t entirely up my alley but it’s got great production and is pulled off well and has a lot of intensity and quality musicianship. Fans of the genre would do well to check this out. –kurt (Joyful Noise)


FLAMING STARS:
Named and Shamed: CD
Up front and not previously aware of the band, it's Gallon Drunk, the Gun Club and Lou Reed. Heavy on the Lou. Throw in some Joy Division and Nick Cave. Occasionally interspersing the inherently washed-out and dressed-up standard British moodiness is a dimly sparkling piano-bar piano, which sashays to the front of a rumbling Ennio Morricone-style bass. Smoky vocals tango with a Flamenco guitar. A twanging six-string twitches hesitantly as if it were a private Dick tailing a suspect into a dead-end alley. While the album is not quite that suspenseful, what you're listening to is still theoretically very Warhol-ish and painfully nouveau (think Velvet Underground). The band's musical reference to Gallon Drunk is empirical (lead Max Decharne drummed for them), but what really strikes me, above all else, is that Decharne's strong fascination with and invocation of Lou Reed rivals, if not supercedes, Morrissey's idolism of James Dean. –thiringer (Alternative Tentacles)


FEVERS, THE:
Love Always Wins: CD
Signs that this record is not entirely On Its Shit are apparent from the get-go: Side One, Track One ("Dance") is a song about slow dancing, but it is not a number that can be slow danced to—which places it, of necessity, into the role of a sound-the-call-and-rally-the-troops-it's-dancin'-time type album kicker-offer, which is foolish, because a song about wanting to slow dance implies that the main character, who represents both the singer and the listener, wishes to stop fast dancing at his earliest convenience, so he can slow dance: As a fast dance number with a built-in deathwish, the song essentially neutralizes itself, and makes as little sense as starting L.A.M.F. off with “Going Steady” would have. The second song would have been an okay second song if the first song was really great, but, as the first song was not really great, as first songs should be, the second song is forced into a role of delayed de facto first song, which it does not succeed at. The third song, "Don't Tell Me It's Wrong," is a great third song, but third songs on albums like these are always a twinge more downbeat and wistful than the two which precede it, so now we've got an album that, for all practical purposes, skips the first two songs and comes in on the slightly more melancholy third song. Okay, fine. Song four, "Bound to Cry," is an excellent fourth song; an uptempo potboiler if you will, but it is followed by the 6/8-time ballad "Lonesome Tears," which, at Side One, Track Five, is in the exact right spot for a 6/8-time ballad (if you believe in that sort of thing), yet it also unfortunately kills the late-developing momentum developed by the third and fourth songs. Side One ends with a cover of the Flamin' Groovies' "Let Me Rock" with new lyrics added by Fever B on accounta the original ones are unanimously unintelligible. I am neutral on this song because no one yells "oh, skooby-doo-oo!" at the end. The historically important Side Two, Track One spot (important because the first songs on each side of a vinyl record are the two most likely to be played by beleaguered DJs since they require much less time to cue up than other tracks) goes to the title track. I am kinda unimpressed with it. It sounds like one o' those songs where the inconvenience of it being not-so-hot of a song blinds people to the fact that, it is, in fact, not-so-hot of a song. The record's fate is sealed: This is... But the Little Girls Understand to their first album's Get the Knack. Sandwiched between an okay Side Two, Track Two and a completely blah Side Two, Track Six, however, is the album's secret fizzy center: Three tracks of perfect bubblegum—a cover of the 1910 Fruitgum Company's "Get Your Luvin," the "are-you-sure-Lancelot-Link-and-the-Evolution-Revolution-never-did-this" bittersweet kindergarten genius of "Photobooth," and "My Iy Iy," a song of such amazing gummi-perfection that i swore it was on some Buddah Records thing that i couldn't find until i contacted the band and found out that they wrote it in like 1997 or something (he calls her at one; she’s out having fun. He calls her at eight; she’s out on a date. How the guy managed to make it through the entire song without saying I call you at six, you’re out sucking dicks is beyond me). By my count, the band goes about 5 or 6 for 12 here—disappointing but not devastatingly so. Dammit, entropy is what always actually wins. Ask around. BEST SONG: "My Iy Iy" BEST SONG TITLE: "My Iy Iy" FANTASTIC AMAZING TRIVIA FACT: The "WHAT? WHALE" pseudo-record-label-insignia on the cover is a parody of White Whale Records, best known for being the Turtles’ label. –norb (Screaming Apple)


FEELERS, THE:
Learn to Hate the Feelers: CD
Well, I can’t say that I hate them, but I was definitely disappointed with this full-length. The split with the Blank Its was fantastic and I was really stoked to get this, but I have a feeling that there was a lot of weed involved in the writing process. The two songs on the seven-inch were driving, fast punk rock songs, and the songs on here are more like Devo. I like Devo, but I was expecting something on the level of the Baseball Furies or Sweet JAP, so it kind of threw me for a loop. The reverb on the vocals was pretty annoying, too. Why do bands keep doing that? For the most part, the guy sings kind of like Jay Reatard, with the occasional moment where it sounded like David Yow of The Jesus Lizard. It’s growing on me but not at all what I expected. –Josh (Dead Beat)


FASTLANE:
New Start: CD
Another UK entry of melodicore for the Warped Tour set. If you put New Found Glory, Good Charlotte, or Simple Plan in your top-ten all-time list, this bubblegum will stick to the bottom of your shoe like no other. –don (Sucka Punch)


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·SATURDAY’S KIDS
·BENT LEFT
·20 BELOWS, THE
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·CINEMATICS, THE
·MALA IN SE
·We've Got a Ton of Reviews That Were Not in Issue #15
·DESOLATION
·AESTHETICS, THE


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