Mick Mercer
http://www.mickmercer.com/

Darkness in the heart, and art, of things is hardly the preserve of Goth alone, and there are many mutant strains at large in Rock wherever you care to tiptoe, but not so many in the post-Grunge area, which is why the raw, basic tendrils of Hate In The Box flail and glue themselves to petrified onlookers so easily. Think of a more capricious Babes In Toyland in a more focussed, fanciful lyrical domain. They call themselves Horror Rock, so the guitar stylings are out in the open, and invest much of their work, particularly the visuals, with a welcome dose of vinegary humour, and the website galleries indicate they’re wild live.

Dark Realms Magazine
http://www.monolithgraphics.com/darkrealms.html

NYC's morbid storytellers Hate In The Box are back and spreading more of their unholy gospel of rage and decadence. The beautiful and talented frontwoman rainbow Blight, whose wonderfully demented mind is truly an asset in this tragic world of shattered dreams and broken dolls, offers clever lyrics and vocals that grab the listener by the throat in an unrelenting grip -- a delivery somewhat reminiscent of early Lydia Lunch, but with a unique vocal style in a class all its own. Keyboardist Optimus Crime provides creepy atmosphere to the fast paced songs, which are loaded with punk rock attitude and are as catchy as the Plague (but a whole lot more fun). The only exception being "Broken Stitches Reopened" which is accented by an ominous organ and slow funeral drum beat. Among the standout tracks, Porcelain is a raw-edged rocker, Candy Coated Razorblade is sweet poison and Papercut Kisses is destined to be an anthem for dark and demented souls everywhere. Razorblade Fairytales delivers a delightfully wicked blend of raw aggressive rock and twisted nightmares

Warren Ellis
http://www.warrenellis.com

Hate In The Box stick a used needle in that metallic vein of electro/goth/industrial/IDM that I think Deathboy once tagged as "futurepunk." I like sawing guitars, hails of tinny breaks and girls singing about bad things.

Sleazegrinder
http://www.sleazegrinder.com/

I think the trailer for “Three on a Meathook” (1973) said it best: “Little broken dolls that keep on dancing, long after the music stops”. The voice-over guy was talking about the dead girls hanging from hooks in the barn, but he could just as easily have been describing the topsy-turvy, bloody carnival world of Rainbow Blight and Optimus Crime, the cyborg twins that serve as the throbbing nucleus for NYC’s screech n’ burn, goth-dustrial brat rock apocalypse, Hate in the Box. Rainbow’s the sexy/scary raggedy Anne vampire girl up front, howling like a new machine that uses candy and designer drugs for fuel, enraged that everything isn’t as pretty as she is, and determined to rearrange it by sheer force of will until it is; and co-conspirator Optimus is the mysterious madman behind her, cooking up green-lit gurgles and grinds from impossibly complicated bio-tech weapons and plotting strange new strategies for world domination. They are the new teenage flesh, so far beyond our puny human concepts of pain and pleasure that we can’t possibly understand exactly what the moral of these Razorblade Fairytales are. We can only allow ourselves to be mesmerized by the Alien Sex Fiend meets the Undertaker and his Pals cyber-shock-punk of it all, and drift off into fitful slumber, dreaming of electric sheep. I have seen the future, brothers and sisters, and it is all wrapped up in yarn and latex, and screaming it’s head off.

Candy For Bad Children
http://www.candyforbadchildren.com

For quite some time now I have been engulfed in the discernible pleasures of Razorblade Fairytales. However, it was not until my subconscious released the song “Porcelain” to my REM cycles two days ago that I found just how truly compelling the album can be. The playful singsong of the vocals is hauntingly addictive; a rhythmic outpouring of fractured innocence. The core of the album, consisting of dark, organic musical undertones, often beautifully contrasts with more upbeat overtones and tempos. Notably unavoidable physical imagery is also burned helplessly into the mind, radiantly crafted through flowing vocals and intricate lyrics. Razorblade Fairytales is overall nothing short of brilliantly combined polar opposites fused together, twisted and turned, sliced and mended into an audio-visual work of art.

Memo Juez
http://www.livejournal.com/users/memojuez/36451.html

I first heard of Hate in the Box, an up and coming NYC area band, from a concert flyer posted at girlsinbands by cyanidebonbon. A few mouse clicks later and I am listening to the infectous vocals of Rainbow Blight on a couple of full length Ogg Vorbis downloadable files. I was so impressed I ordered this CD right then and there. RazorBlade Fairy Tales' first cut Porcelain opens with a dark keyboard/synth intro by Optimus Crime shortly joined by an overdriven rhythm guitar. Rainbow Blight soon starts in with When you cry it makes a sound, --like knives on Porcelain in a voice and inflection that makes the listener ask "Is that Gwen Stefani?" Any confusion is quickly eradicated as Blight's powerful and emotionally charged vocals suck you into a world of razorblades that make the tears of dolls run red. Through-out the entire album, the musical arrangement is straightforward and uncomplicated with a nod to the heyday of Industrial Metal of the early nineties with a Gothic Metal flavouring. Optimus Crime is extremely adept with his keyboarding and musical layering production skills that give the likes of Jason Slater (SRC) a run for his money. Crime's hooks have meat hanging from them. If you are tired of the same old radio friendly garbage pumped daily into your life, then RazorBlade Fairy Tales is a refreshing jaunt out of your watered down musical mediocrity.