READY FOR WAR: THE FLORIDA EDITION, $8, 8½” x 11”, glossy color, 50 pgs.

Battle jackets are the name for sleeveless vests (often of the denim variety) covered in patches that represent various social and political causes as well as bands. This is photographer Adel Souto’s second foray into capturing these pieces of apparel. These images were taken around Adel’s hometown of Miami as well as at The Fest in Gainesville, Fla. I’m so glad the photos are in color and glossy, as it allows the reader to get the full depth of what the vests look like. There are a wide range of styles and colors as well as bands that are advertised here. While I don’t own a battle jacket, I found these to be fascinating to view, as each of them gives off a bit of the personality of the wearer. It would’ve been interesting to interview the owners of the jackets, too, and find out why they like them and chose to place certain patches on the jackets. Still, an interesting concept and worth checking out if you’re into this sort of thing. –Kurt Morris (


I really wanted to like this zine. The woman who wrote it also created a documentary with the same title in which she interviews women musicians from the U.K. and they discuss their experiences in the music scene. The entire zine is a first-person explanation written by the filmmaker about her personal experience as a musician, how she arrived at the idea of the documentary, and how she made it happen. The topic regarding sexism/feminism in the music scene is something that not only am I interested in but have personal experiences with. However, this zine reads like an unedited diary entry that expresses the author’s insecurities as a musician and goes through her step-by-step process of raising money and contacting women to be interviewed. There were times that I thought that she could have left certain details out and times that I was just plain bored. Although she was obviously inspired by her interviewees, it was hard to get behind her message since I didn’t really know what her message was, besides that these women were inspiring. I’m still looking forward to watching the documentary since it really isn’t about the filmmaker but rather about the women who have a more empowered and weathered stance on the issue. –Rosie Gonce (

SPOOKY BOYS LOOKING FOR LOVE, $?, 5” x 7”, copied, 12 pgs.

Need some spooky love in your life but you suck? You should probably pick up this zine so you can stare at some cute spook boys and imagine you have a real life. This is a good start too, since the drawings in here are really spectacular and have a charming look to them. Like, the characters are charming and there are all types of people you can get into. Take it as your personal paper Tinder for someone you can never do it with. My favorite is the pumpkin head dude because I love pumpkins, dude. –Iggy Nicklbottum (Val G,

SPORTSBAR, NY #1, 8” x 10½”, copied, 36 pgs.

Twenty-eight one-page gag comics, much like a newspaper comic strip. The content is not dissimilar to a webcomic of a similar caliber. I don’t think it’s bad, but there’s something lacking. There are two bunny characters that act as the recurring thematic glue, but their tone and personality don’t seem distinct enough. I recommend that the author go look at some of the greats doing this exact kind of schtick. If I could recommend, I’d say pick up a copy of Matt Groening’s Life in Hell. That’ll do you good. –Gwen Static (Martin Pohl, no address listed)

STREET DEED #3, $?, 8½” x 11”, 64pgs.

Street Deed is one of those zines that catalogs a scene you didn’t even know existed. #3 is the first bilingual edition of what seems to be Bulgaria’s premiere punk fanzine—the upside of this is that I can read half of it, the downside being that I can’t read the other half. It seems to have some reach. They interview not just Bulgarian bands—and it’s a nice look into the way European bands interact with each other; some banter about each other’s countries—but an ultimate camaraderie between punks. It does feel a bit stuck in the street punk phase of American/U.K. punk, with a focus on not only that genre but that era, as well, but then again, so are some Americans! Great interviews with bands from across Europe, interesting piece on the Dead Boys, and hand-cut-and-pasted with a tremendous amount of dedication for sixty-four pages. –jimmy cooper (

TRASH BABIES 2, $8, 7”x 8½”, risograph, 50 pgs.

Got this giant green bad boy in Texas at the Houston Zine Fest. This baby is thick as hell and I purchased it immediately after I flipped through it and saw some gross, weird, furry-type thing. I dig it. This is a trash-themed zine (hell yeah!). That’s another reason I got it, since we are all trash people. There are a multitude of talented people in this issue of Trash Babies, though this is the only issue I’ve owned or seen. Each artist has a different identity in their imagery and work, from cute to fucking disgusting. It’s exactly my kind of thing, for I am also cute and gross. It’s great to see a collection that seamlessly puts together “outsider” artists with “traditional” artists. –Iggy Nicklbottum (Various,

TRUST #196, €3.50, 8⅜” x 11¾”, offset, 68 pgs.

I will freely admit that the brunt of my conversational German revolves around asking you how many potatoes you have, but I am a tuned-in enough cat to be aware that Trust has been published bi-monthly since 1986, making it the longest-tenured regularly published punk zine in Germany, if not, at this point, the world. I mean, you couldn’t even really call it “the Razorcake of Germany,” you’d have to call Razorcake “the Trust of the United States” and who would like that? Nobody. Nobody would like that, and I’d get punched in the nose for saying it. Well, screw that, I’m not taking the bait! Thanks for nothin’! In any event, this issue has columns (naturally), record reviews (of course), book and fanzine reviews, news items, lotsa big photos, interviews with Martin Sorrondeguy (Los Crudos, Limp Wrist, et al.), Chain Cult, and Proud To Be Punk, an article on publishing house Ventil Verlag, and a bunch of ads. Due to my lack of non-potato-based comprehension of the language, I found the ads to be one of the more interesting aspects of the zine. Since Germany is of a reasonably compact size relative to the U.S., the ads tended to skew more towards promoting upcoming tours than pushing physical product: Did you know the Professionals are playing shows again, without Steve Jones? Did you know Marky Ramone is in a band with Greg Hetson? Did you know the Dead Kennedys are opening for the Dropkick Murphys? I didn’t know any of this crap! All of this just goes to show ya that punk is a universal language, which is why the Martians will be our friends and no one else’s. –Rev. Nørb (Postfach 11 07 62, 28087 Bremen, Germany)

ACCEPTING FAILURE, $3, 5½” x 8”, copied, 27 pgs.

I found Accepting Failure to be more of a discussion of birth order and gender in determination of family dynamics than a true discussion of failure, but it came together nicely at the end. It includes great line drawings of the author and her family, and the whole zine is handwritten, which lends it the air of being a diary I wasn’t supposed to find. Families are hard. Most of us, even if we have a fucked-up relationship with them, want to make our parents (or even just one of them) proud. How do we do that if we don’t follow a traditional career path? Lopez does not provide an answer, but encourages us to “fail A LOT, and get better at it,” a necessary sentiment that bears repeating, and repeating often, in an (economic) success-driven culture, whether or not you’re making your folks proud. –jimmy cooper (Ana Lopez,

BEHIND THE ZINES #8, $3, 8.5” x 11”, copied, 39 pgs.

Billy has put out another solid zine with this issue of Behind the Zines. For those who don’t know, Behind the Zines is, as Billy calls it, “A zine about zines.” There are contributions here from all sorts of individuals in the zine community and their pieces vary. There’s a self-written Q&A from Neither/Nor Zine distro, a few questions with zinester Julia Eff, and a piece by our very own Todd Taylor titled “One Punk Who Makes Zines.” Todd’s piece is a good explanation of the history of Razorcake and how it operates. But all the writing is good—whether it’s an author explaining how he put together his first zine or someone writing how they register people for a zine fest, there’s a lot to take in here. If you’re part of zine culture, you should certainly check this out. –Kurt Morris (

BIG TAKEOVER #84, $6, 5½” x 11”, glossy, 152 pgs.

Prior to this issue, I didn’t know The Big Takeover existed, but here it is, with a frankly overwhelming amount of content between interviews, reviews, editorials, and the like. Typically, with a long magazine like this, I’d be bored about halfway through (152 pages of magazine is a lot!), but these folks know their stuff, and they’re witty even when rehashing the same debates—as music journalism, particularly in the punk realm, tends to do. The interview with bev davies, a music photographer spanning decades of bands, from the Rolling Stones to D.O.A. to the contemporary Vancouver scene, was a highlight—all this history from one person who not only knows her stuff but was enmeshed enough in the “scenes” to know how it really was. However, the interview is left off halfway through with a note that it’ll “continue next issue,” which is a magazine peeve of mine—what if I just picked this up and don’t have or plan on having a subscription? Either way, lots of good content and lots of good photos for a reasonable price per issue make this a win in my book. –jimmy cooper (