Sparta to release new album, share "Crater" video

Sparta have announced that they will be releasing a new album. It is called Cut A Silhouette and will be out on May 29 via Equal Vision Records / Dine Alone Records. The band has also released a video for their new song “Crater” which was directed by Travis Shinn. The song was co-written with Frank Iero of My Chemical Romance and L.S. Dunes. Sparta released their self-titled album in 2022. Check out the video and tracklist below.

In Memoriam: Bo Lueders of Harm's Way has passed away

Bo Lueders, guitarist of Harm's Way and co-host of the HardLore podcast, has passed away. He was 39. The HardLoreInstagram account announced his passing in a statement that reads, ”It is with heavy, broken hearts that we share that our beloved Bo Lueders has passed away. He will be remembered for his unwavering empathy and compassion for his friends & family and his magnetic, inimitable presence on & off the stage. We kindly ask for grace and privacy as we navigate this extremely difficult time. For those struggling with depression or urges to self harm, help is always available. We’re not in this alone. Suicide and Crisis Lifeline: 988.” Bo Lueders was one of the founding members of Harm’s Way and played on each of their albums, the most recent of which was Common Suffering which was released in 2023. He also played in Double Crossed, Convicted, and xWeaponx. We send our condolences to Bo Lueders’ family, friends, and fans.

DS Album Review: FakeYou – “Promise to Disappear”

Montreal punk four-piece FakeYou are set to release their debut full-length album Promise to Disappear Friday, April 3, on Atlanta-based 59 X Records. Playing on the concept of a “promise to appear”, that formal obligation to show up when summoned, Promise to Disappear explores various forms of disappearance as a means of survival in a […]

Montreal punk four-piece FakeYou are set to release their debut full-length album Promise to Disappear Friday, April 3, on Atlanta-based 59 X Records. Playing on the concept of a “promise to appear”, that formal obligation to show up when summoned, Promise to Disappear explores various forms of disappearance as a means of survival in a world of increasing conformity and homogeneity, whether manifesting as fractured identity, negation of self, or a slow descent into less-than-ideal coping mechanisms. Melding the fuzzy grit of grunge and emo with the zeal of pop-punk and the clever sophistications of alt rock, the punk quartet has created an album that, layered under vocalist Guillaume Menard’s throaty vocals, emerges as a heavy, sincere and ultimately, deeply recognizable treatise on who we are and who we are allowed to be. Powerful, organic and encompassing as any instant classic, Promise to Disappear is one of this year’s standout releases from a band that are quickly becoming ones to watch.

The record settles comfortably into itself with gauzy, mellow opener “Wanderlost”, under hazy layers of guitar propelled by a rolling beat. Caught between disillusionment and alienation, the journeys we embark on as we begin to wander off the path of convention will force us to consider how– and if – we want to be seen.

From there, we are led across the album’s ten tracks through a labyrinthine funhouse of feelings as the band sorts through the myriad manifestations of confusion and pain. Time slows on lead single “Tieluck”, an amber-trapped study of the only holdover in a small town quietly slipping into obsolescence, and spins twilight into an endless day on the breathless, lurching “100 Million Sheep”, rhythmic switches mirroring the uneasy cadence of being tugged in and out of a half-sleep. When it all becomes too much to bear, vanishing acts take the form of refuge in addiction on the beautifully harmonious and deceptively upbeat “Solace”, quick comforts for the desperate and lonely that take a dark and poisonous turn. Our emotional wreckage eventually washes up on the shoes of the jeering, semitonal “Like Helium Balloons”, stripped down to a shouting chorus taunting the listener for having been abandoned by their better angels in a pointless quest for the truth.

We are not always the sole architects of our own misery, however, as Promise to Disappear evokes in equal measure the ways in which love and loss reshape us, leaning into percussive elements that invoke a somatic response. Steeped in the sticky syrup of wistful reminiscence, “Faded Scarf” recalls once-cherished memories now wallowed in, a thumping bassline pulsing like a heartbeat under a heavy wall of slow, driving sound. Every drumbeat is like a blow to the chest on “All About You’s” vast and anthemic bridge, echoing the singular enormity of losing someone who came to define your existence. Who we are when these things fade away is a conversation we never quite seem ready to have.

Even the record’s more uplifting songs are tinged with melancholy, though no less with meaning. For those suffering the acute pains of heartbreak or burdened by the heavy impress of despair, there is the soft, emo-infused “Midnight Sun”, a gentle reminder that those less-than-ideal moments that make the nights feel endless are not everlasting. Disappearance can be graceful, it seems, when we are allowed to drop the exhausting pretense of perfection and settle a little bit more into who we really are.

Extensive meditations on love, loss and life tend to serve as fertile ground for existentialism, and it all finally comes to a head on the rollicking pop-punk “Spitshine”, from its jaunty opening bass lick through to the throat-ripping chorus outro: the song’s final moments find Menard’s control wrested away from him by his howling alter ego, whatever sensible opinion that might have been had on the meaning of life ultimately giving way to the sweet release of no longer caring at all. It certainly is no antidote, but as we have learned, we tend to take our comforts in whatever form they come.

On an album whose relentless pursuit of authenticity leaves us with more questions than answers, closing track “Following Protocol” serves as something of its thesis, a bitter final reflection on the lonely realization that a life spent doing as you’re told has yielded little reward. The slow-simmering track steadily builds to a colossally powerful outro, a cathartic tidal wave of feeling that crashes furiously down before receding quietly back into the sea. We are, ultimately, no less lost than when we started. But we might be more equipped to weather what comes.

Each song on Promise to Disappear pulls in a different way at the fabric of what it means to be human, unravelling the threads of personal experience and spinning them into familiar shapes. Love and loss, anger and confusion, the cruel distortions of time, the pains of separation: Promise to Disappear takes the intemporal, intangible, constantly shifting agitation of being alive and weaves it into a common and shareable language that permeates the boundaries of our individual selves, recounting the exhaustion of our endless negotiation with life in a vocabulary common to us all. Menard’s rhythm and LeBrun’s lead guitars twist and wind around each other in an intricate lattice of harmonies and countermelodies that layer over bassist Jay Changizi’s deft and melodious basslines to create a sound that is stunningly lush and deep, the perfect backdrop for Menard’s keen and incisive lyrics. The alternation of heavy riffs with sparse, porous bridges creates a pulse that radiates through the album like a living organism. What results is an record whose bracing depth and vulnerability are its most enduring assets.

From scene veterans with an uncompromising dedication to their craft comes a meticulously crafted and dazzlingly executed debut record. Be sure to head over to the group’s Bandcamp to stream Promise to Disappear or snag a copy of it on gorgeous butter-yellow vinyl. If you’re lucky enough to have a foot in the door of Montreal’s thriving underground, you can catch one of their electric live performances here and in the surrounding neighbourhoods throughout the spring and summer.

Photos by À L’affiche Montréal

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Potrero Hill in San Francisco. Roof top with fog rolling in and Bottom of the Hill neon sign in the distance.

DS Feature: The changing of San Francisco’s 17th St: Volume 1

I grew up in the California Bay Area and have lived in Potrero Hill in San Francisco since 2012. I moved here because I loved the neighborhood and wanted to be close to two of my favorite venues, Bottom of the Hill and Thee Parkside. Potrero Hill has always had a unique mix of industry, […]

I grew up in the California Bay Area and have lived in Potrero Hill in San Francisco since 2012. I moved here because I loved the neighborhood and wanted to be close to two of my favorite venues, Bottom of the Hill and Thee Parkside.

Potrero Hill has always had a unique mix of industry, creativity, and community. Industrial buildings sit next to artist studios and music venues. Local musicians, photographers, designers, artists, and skaters share the same streets as longtime residents. The neighborhood’s creative spirit is shaped by places like Bottom of the Hill, Thee Parkside, DLXSF, Arch Art Supplies, and California College of the Arts.

Warehouse that was formerly Corovan, a moving company. This later became the site where the SF Flowermart moved into.
Corovan warehouse that later became the new home of the SF Flowermart.

That culture is now facing major change. Some positive, some still evolving, while others face an uncertainty.

SF Flower Market has been around since 1912 and after 70 years, found a new home in Potrero Hill. Now across the street from Bottom of the Hill, the Flower Mart continues to be a home for independent businesses and working class people.

Bottom of the Hill music venue at night.

After 35 years, Bottom of the Hill has announced that it will close under current ownership at the end of 2026. The owners will pass the baton onto another independent owner that will continue hosting indie bands as they always have done. Fans are grateful for the Bottom of the Hill’s dedication to the independent music scene and are hopeful its legacy will continue beyond this year as a positive force in the community.

The California College of the Arts campus has been purchased by Vanderbilt University, and CCA programs will end by fall 2027. The neighborhood will lose a major design institution, and the future of the student gallery on 17th Street is unknown.

Thee Parkside music venue exterior.

Thee Parkside recently had its building sold out from under them and ended live shows at the end of March.

Rents continue to rise and only more unaffordable housing continues to be built. Build up and build more at the cost of the neighborhood culture and yet who are these units designed for?

Graffiti inside Thee Parkside that says "This will soon be condos you can't afford" with two staff members and a dog sitting in front of it.
Left: Employee of the Month, Shane and Bar Manager, Laura. Right: Neighborhood Supervisor: Beans

Parkside just announced that the bar will host one last tricycle races on the 4th of July and the bar’s final day will be July 5th. It may not be realistic, but we have to hold out hope that it will be saved.

This is the beginning of a series documenting 17th Street and Potrero Hill as these changes unfold. It will focus on the spaces and people who have made this community special. Maybe if these stories are told, more people will realize why preserving these spaces are important.

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Wasia Project glide us through a dizzying spell of alt-pop with ‘2515’

<p>Nearly two years ago we put out the public call for Wasia Project, the Chinese-British sibling duo of Will Gao and Olivia Hardy, ahead of their live performance in Allston. It felt like the last time they’d play a room of intimate size, and the alt-pop band’s trajectory has since remained skyward. Wasia Project return this week with “2515,” a dizzying spell of electronic-pop propulsion that blurs genre lines and captivates from the jump. It feels inherently 2026 in its icy mood and […]</p>
<p>The post <a href="https://vanyaland.com/2026/04/02/wasia-project-glide-us-through-a-dizzying-spell-of-alt-pop-with-2515/">Wasia Project glide us through a dizzying spell of alt-pop with ‘2515’</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

The Callous Daoboys release video for "Gigantic Parasite Tongue"

The Callous Daoboys have released a video for their new song “Gigantic Parasite Tongue”. The video was directed and edited by Sam Hahn. The song is available digitally now via MNRK Records. The Callous Daoboys will be touring North America with Arm's Length starting later this month and released their album I Don’t Want To See You In Heaven in 2025. Check out the video below.

Shooting Daggers to release mini-album, share video for "GLOW" ft. Dennis Lyxzén

Shooting Daggers have announced that they will be releasing a new mini-album. It is called The Real Life Thing and will be out on June 5 via New Heavy Sounds. The band has also released a video for their new song “GLOW” that features Dennis Lyxzén of Refused. The video was directed, filmed, and edited by Corey Eyres and additional footage of Dennis Lyxzén was filmed by Jakob Arevärn. Shooting Daggers released Love and Rage in 2024. Check out the video and the tracklist.

‘The Super Mario Galaxy Movie’ Review: Game, don’t watch

<p>I’ll keep this (relatively) brief: Aaron Horvath and Michael Jelenic’s The Super Mario Galaxy Movie is slightly better than the last one for two reasons. First, it keeps the “origin story” horseshit cordoned off to an unsatisfying yet mercifully brief subplot involving Princess Peach (Anya Taylor-Joy) trying to figure out where she came from; second, it gives us a tantalizing glimpse as to what a good modern Nintendo cartoon might look like in a 30-second showcase of a Star Fox […]</p>
<p>The post <a href="https://vanyaland.com/2026/04/02/the-super-mario-galaxy-movie-review-game-dont-watch/">‘The Super Mario Galaxy Movie’ Review: Game, don’t watch</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

Mic’d Up: Steve-O goes far beyond the butt chug at The Wilbur

<p>Just when you thought to yourself “there’s no way Steve-O could get more grotesque and flagrant with his stunts,” the living legend of comedic lunacy has doubled down for his latest show as he makes his way back to the city. Fully equipped with a brand new multimedia delivery of hijinx, hilarity, and more than a few cringe worthy moments that will surely make your skin crawl, the Jackass icon returns to The Wilbur on Friday (April 3) as part […]</p>
<p>The post <a href="https://vanyaland.com/2026/04/02/micd-up-steve-o-goes-far-beyond-the-butt-chug-at-the-wilbur/">Mic’d Up: Steve-O goes far beyond the butt chug at The Wilbur</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

Exclusive Videos: Overton: “High On Faith”

We are pleased to bring to you an all new Punknews Exclusive video premiere for North Carolina based dark melodic punks Overton. "High On Faith" is their debut single and will be out digitally tomorrow. See below to hear it first here and to read a blurb on the backstory of the track.