1. our pal Renee went to the No Human is Illegal show at bridgetowndiy!

    click thru for videos from Spokenest, Wulfen Rag, and Winter Vacation.

  2. Matt Hart’s video handiwork takes you through the best part of zine making: picking up the finished product! 

    Pro Tip: do plenty of stretching before loading and unloading an entire pallet of zines.

    We consider it a bi-monthly zine workout. Enjoy!

    Music by Chantey Hook - Underground (which you can buy right here!)

    PS. Razorcake does not approve of the ads that appear in our videos. Razorcake does not pay YouTube for any services, nor has Razorcake monetized any of the videos that appear on our channel. The ads you see are inserted without our permission!

  3. this message brought to you Razorcake/Gorsky Press, Inc

    (more cheeky bullshit can be found in issue #82, on its way to you in a few short days/available for purchase soon!)

  4. Razorcake Podcast #332 with Kurt Morris (aka w2fc)

    For this particular podcast, I don’t remember which of the bands spawned the idea, but it hit me: bands with body parts in their names. It seemed like a good idea. And it was an excuse to play Agoraphobic Nosebleed. That’s too good of a band name to pass up.



    download link!

    track listing:

    Ten Foot Pole, “John” (Unleashed)
    Lungfish, “Friend to Friend in Endtime” (20 Years of Dischord)
    Gunmothers Head, “Sleeping Science” (Well, I Don’t See Why Not, Vol. 3)
    Motörhead, “Going to Mexico” (Aftershock)
    Agoraphobic Nosebleed, “Pentagram Constellation” (The Poacher Diaries)
    Small Arms Dealer, “Today I Discovered the World” (Cover Your Tracks)
    Stiff Little Fingers, “Suspect Device” (No Thanks!)
    Brainiac, “Flash Ram” (Electro-Shock For President)
    Bad Brains, “Big Take Over” (Self-titled)
    The Redneck Manifesto, “Paint The Dilebloa Pink” (I Am Brazil)
    Cross My Heart, “The Reason I Failed History” (The Reason I Failed History)

  5. Roman Candles Interview
    Converting Sincerity into Sound

    By Sean Arenas

    The Richard Nixon Presidential Library and Museum, a National Historic Landmark, is located in Yorba Linda, a suburban city in Orange County,California (one of the “richest cities” as identified by the U.S. Census Bureau.) There, you will find Nixon’s birth home and resting place on the same nine-acre plot of land. In spite of Tricky Dicky’s right-wing paranoia possibly permeating into the soil, the land of gracious living has been the point of origin of many young punk bands—perhaps even spurred by the city’s heritage—including one songwriter and zinester who I have followed closely for years.

    Christopher Gordon has navigated past creative pitfalls to find his comfort zone, publicly struggling to grow out of his nerves and rudimentary musicianship. Eventually, he found the sweet spot, honing in on lyrical frankness and intimate— yet remarkably catchy—vocals. He’s the type of acoustic songwriter who appears easily imitable until you pick up a guitar and realize how difficult it is to convert sincerity into sound.

    He found a second voice in his zine, The Stowaways, a critical document of SoCal’s punk scene. Together, both his music and writing have allowed him to gain a following endeared by his dedication, but continually fixated by the memorable melodies and relatable lyrics.

    Not even the undead hand of Nixon himself can keep Christopher Gordon away from an acoustic guitar.

    The majority of this interview was conducted in the ArcadiaWash on August 6th, 2014.

    Interview and transcription by Sean Arenas

    Let’s go back to the beginning of Roman Candles.

     In the summer of 2008, I saw Andrew Jackson Jihad and Lemuria at the Glass House Record Store. This was early college. Riley (Dahlson), who started the band with me, was like, “Dude, we got to see this band Lemuria. They have a female singer and they sound like Dinosaur Jr.” We get there and Andrew Jackson Jihad is playing and it stops me in my tracks. I picked up the split with Ghost Mice and was like, “I’m going to go for it.”

     And you then decided to play accordion?

     I had been taking piano lessons for a while. I bought an accordion out of the PennySaver, because I really liked Dusty Rhodes And The River Band. They had an accordion player. I was like, “I’ll just do that.” [laughter] So, the earliest Roman Candles songs are terrible, because I didn’t know how to play guitar. I’d write lyrics and try to tell Riley to play “bum bum bum.” It’s a terrible way to start a band.


  6. Webcomic Wednesdays #86
    from the archives!

    By Art Fuentes

  7. Razorcake proudly presents…

    Punk veterans Alice Bag and Jimmy Alvarado discuss their personal journeys through the early waves of punk in Los Angeles. Moderated by Razorcake founder Todd Taylor.

    Alice Bag: musician (The Bags, Castration Squad, Stay At Home Bomb), author Violence Girl: East L.A. Rage to Hollywood Stage, a Chicana Punk Story.

    Jimmy Alvarado: musician (Butt Acne, Black Jax, Ollin, Our Band Sucks), videographer, writer, and collector of punk oral histories.

    Alice Bag (www.alicebag.com) (alice-bag on tumblr)
    Razorcake (www.razorcake.org)

    Facebook inviteVroman’s Hastings Ranch
    Sunday, Oct. 19, 2 PM
    3729 E Foothill Blvd., Pasadena, CA 91107
    (This is not the Vroman’s on Colorado Blvd. It’s in East Pasadena. Close to the Gold Line Sierra Madre Villa Station.

    Poster by Codey Richards.


  8. Generacion Suicida Interview Podcast

    Los Angeles is an unsolved mystery that’s shattered into hundreds of pieces: mirrors, daggers, broken things. In Los Angeles, DIY punk isn’t one thing. It’s not a unified scene, which is both a blessing and a curse. It’s a wide, fissured spectrum, a spectrum that also gets routinely shattered or too-thinly sliced by subgenre. It’s fractured by the immense geography of Los Angeles itself. People—punks included—become isolated by rivers, freeways, social class, customs, race, transit lines, and invisible lines that separate neighborhoods, sometimes mid-street that you’d never know about until you live there yourself or are shown by someone who does. Further deepen that segregation with generations-old neighborhood pride and prejudice, to friends parting ways over ego, to hubris, and issues of trying to become the police chiefs of their punk scenes. The isolation and separation doesn’t end at doorsteps. It goes deeper, more personal, to the spelling and slanginess of the words, to birthplaces, to skin color, to the darkness or lightness of skin color within a skin color. To blood, family, things you have no control over when you come into this world.

    Welcome to Los Angeles.

    click here to download the podcast!

    Generacion Suicida’s a four-piece band. They play icy, angular, catchy punk with oscillating male/female voices creating a serrated edge of paranoia and anxiety. It’s right up my alley. I highly recommend their entire catalog. (Their debut album Con La Muerte a Tu Lado was just released and it’s amazing.) Two of its members are from South Central L.A. One lives in Koreatown, another in Anaheim, Orange County. None are from East L.A. They sing solely in Spanish and remind me of bands from other countries, mainly Umeå, Sweden—in the Ny Våg tradition of the Vicious—and Copenhagen—Gorilla Angreb and No Hope For The Kids—which sort of brings the sound back home to California because those Scandinavian bands borrowed heavily from Los Angeles’s past (late ‘70s Dangerhouse, especially). The irony didn’t escape me. I’m more conversant in the language of songs of many bands that are based 5,317 miles from Razorcake HQ than I am in some of the bands that live less than twenty miles away. It’s not like I’m trying to be willfully ignorant of punk in my hometown. That’s just the nature of the beast here in L.A. One mile past the last bus stop often is the end of the world.

    Los Angeles is its own country. 

    The up side is this: some of the best DIY punk in the world has been and is being made in Los Angeles. We have a rich, diverse heritage. One that’s as great as it is totally fucked and frustrating. But it’s this real fight to be heard—even in your neighborhood—to make meaningful music that gives it such vitality, such uniqueness. What do White Murder, Wreck Of The Zephyr, Thee Undertakers, Toys That Kill, Neighborhood Brats, Rough Kids, Spokenest, and Generacion Suicida have in common besides they’re active punk bands in L.A.? Not much, except they all rule in their own distinctive ways. And that’s what keeps being a punk in L.A. exciting. 

  9. gnarphuk:

    New #razorcake slipmats. These are fucking rad #ouija

    yeah they are! love seeing these slipmats in the wild.

    i can’t say much else, but if you dig this design, we’ve got something cool coming!

  10. Razorcake Podcast #331 with Mike Faloon! (and Todd)

    Friends engage in any number of activities when they get together.  Some compare monocles.  Others debate Night Ranger vs. Styx.  We dig spinning punk rock records and talking about them.  This is what it sounded like one afternoon in August.


    download link!

    Night Birds, “Hope for the Best (Expect the Worse)” (Wallride)
    Future Virgins, “Late Republic” (Self-released)
    Underground Railroad To Candyland, “Worried” (Recess)
    Lenguas Largas, “Heavy Bubbles” (Recess)
    Treasure Fleet, “Surrender of Promises” (Recess)
    White Night, “Stuck on You” (Recess)
    Vanna Inget, “Alla Andra Dagar” (Man In Decline)
    Chantey Hook, “Underground” (ADD/Razorcake)
    Street Eaters, “Reverse” (Contraszt!/Nervous Intent)
    Worriers, “Get Bored” (Yo-Yo)
    Brain F≠, “Dry” (Grave Mistake/Sorry State)
    Gories, “View From Here” (Crypt)
    Fastbacks, “In the Summer” (Popllama)
    Bright Ideas, “Please Say Yes” (Radio On)