There’s no mystery what One Reason to Rise are going for on Lost & Found. This is straight up 90s-style melodic skate punk, and the band wears those influences proudly. If you grew up on Fat Wreck Chords bands like No Use for a Name, Lagwagon, and Pulley, there’s a lot here that’s going to […]
There’s no mystery what One Reason to Rise are going for on Lost & Found. This is straight up 90s-style melodic skate punk, and the band wears those influences proudly. If you grew up on Fat Wreck Chords bands like No Use for a Name, Lagwagon, and Pulley, there’s a lot here that’s going to feel familiar in a good way.
To the band’s credit, this doesn’t come off like a lazy copy job. The songs have energy, the guitars are tight, and the vocals have the right mix of melody and grit. It’s clear One Reason to Rise know this style well and actually care about doing it right. There’s enough heart here to keep the album from sounding overly polished or forced, which is usually where records like this start to fall apart.
The strongest parts of Lost & Found are the ones that lean into what made that era of punk work so well in the first place: fast tempos, catchy hooks, and just enough emotional weight underneath it all. The band keeps things moving, and even when the songs stay in a pretty familiar lane, they do it with conviction.
That said, the album doesn’t always separate itself from its influences. A few tracks run together, and there are moments where a bigger chorus or a more distinct twist would have helped. That doesn’t make it a weak record, just one that plays it a little safer than it probably needs to.
Still, Lost & Found is a solid listen. One Reason to Rise clearly know their audience, and they deliver a record that should land well with anyone still into that classic Fat-style melodic punk sound. It may not reinvent anything, but it doesn’t need to. It’s catchy, honest, and well played, and sometimes that’s enough.
Overall score: 7.5/10
Lost & Found is out now on Punk Rock Radar and Sound Speed Records.
On March 28th, The Garden performed a chaotic show at the Riverside Municipal Auditorium, which claims to have a capacity of 1,400… it seemed like they may have oversold. This crowd was massive, hard to move in, and deeply devoted, too. Even an hour before doors there was a line wrapped around the building. By […]
On March 28th, The Garden performed a chaotic show at the Riverside Municipal Auditorium, which claims to have a capacity of 1,400… it seemed like they may have oversold. This crowd was massive, hard to move in, and deeply devoted, too. Even an hour before doors there was a line wrapped around the building. By the time we got inside, the venue was completely packed already. Fans of all ages were claiming their spots, and unwilling to give up their view. The majority of the crowd were wearing some sort of clown inspired makeup or face paint. With The Garden and their fans having a black and white jester themed aesthetic, it made me feel like I was at an Adicts show.
While it was pretty clear who most people were here to see, spotting a few people with patch pants and jackets made me feel a little less out of place. I was a little bit surprised to see U.K. punk band The Partisans on this lineup. The Garden themselves even called it “another just plain wrong lineup”, but after doing some research, apparently they have known Fletcher and Wyatt since they were 11 years old! They even toured with then in Europe a couple years back, and it isn’t uncommon for The Garden to play with legendary hardcore punk bands. After the cancellation of Los Angeles’ 2026 C.Y. Fest, The Partisans couldn’t let their travel arrangements go to waste, so they found themselves in Riverside opening for The Garden. In my opinion though, The Partisans stole the show. Even the ones that didn’t know them to begin with I think ended up as fans. Hearing some of their iconic songs, like “17 Years of Hell“, “I Don’t Give a Fuck“, and “Bastards in Blue” live felt so good.
There was a pit for their whole set, and everyone was dancing. They absolutely got the crowd excited.
For a band that has been around since the late 70’s, their energy hasn’t dulled in the slightest. They were a great opener, and in a way kind of showed the audience where The Garden comes from. Modern punk artists The Garden, carry influences from early bands, like The Partisans. After them was a rapper named Ghost Mountain, who I don’t really have much to say on. That was my break time.
9:45 comes around and it’s time for The Garden to hit the stage. Starting off the set with “Horseshit on Route 66“, the crowd was already going insane. I do have to say, The Garden fans know how to pit. The energy in the room never died down once. People were crowd surfing, jumping, and moshing until the very end. Their high energy setlist included songs like “Clay“, “OC93“, and “This Could Build Us a Home“, which were some memorable ones.
Formed in 2011, twin brothers Wyatt and Fletcher Shears have turned The Garden into one of the most distinctive and influential acts to come out of Southern California’s underground scene. Being in the audience made it clear that they have found a deeply loyal and devoted fanbase here, and they have basically built their own community. With one on drums and the other on bass, they truly have a one of a kind sound that is hard to put into words. I’ll admit, I wasn’t fully sold on their sound going into this, I just didn’t quite get it. There are some people you just can’t really get into, for no particular reason. However, their performance was so dynamic and engaging that it was impossible not to walk away with an appreciation for what they do. Running and jumping around the whole time while still singing what they’re meant to, it really was a great performance, and their chemistry and stage presence was really astounding.
It wasn’t just the two of them, either. They had a giant jester just lurking the stage with them throughout most of their set. Depending on what you had in your system, he was kinda creepy, and I wouldn’t look at him too close.
With the energy of the crowd, The Partisans and The Garden put on a great show. Not just the music and talent stood out to me, it was also the sense of community. My friend is a fan of them, and like I mentioned earlier I could never get into them. While my plans to go to C.Y. Fest went down the drain (rightfully so), seeing The Partisans as the opener was a sign that I needed to make it to this show, and I’m glad that I did. It was definitely memorable, and I can say I walked out as a newfound fan of The Garden.
It’s official.. GWAR has hit the road on their GOR GOR STRIKES BACK! Tour and ya’ll aint ready. There are shows, and then there are full on blood baths. If you’re a fan of GWAR, you know the number one rule: one must wear a plain white t-shirt in hopes of leaving the show drenched […]
It’s official.. GWAR has hit the road on their GOR GOR STRIKES BACK! Tour and ya’ll aint ready. There are shows, and then there are full on blood baths. If you’re a fan of GWAR, you know the number one rule: one must wear a plain white t-shirt in hopes of leaving the show drenched and covered in blood looking like you just survived a massacre.
Needless to say, GWAR absolutely shook everyone to the core.. but it couldn’t have been done without openers King Parrot, hailing from Australia, and Soulfly all the way from Phoenix, Arizona. Easily one of the most incredible shows I’ve ever been to and documented.
I had yet to catch King Parrot live before this, but after hearing nothing but praise my expectations were high and they absolutely delivered. As someone raised on heavier metal and grindcore, their set hit hard and filthy. A perfect appetizer, leaving us hungry for the carnage coming up next.
Unfortunately, there was no media allowed during Soulfly’s set at the band’s request. Honestly though? I wasn’t mad about it.. it almost made the experience hit harder, bringing us back to times where we were forced to live in the moment with no cameras. It was definitely one of those moments where you had to be there.
If you have struggle with sensory overload, a GWAR show on a Thursday night might not be on the top priority list. From insanely elaborate costumes, their own constructed characters called the Scumdogs from Scumdogs of the Universe, to their signature blend of red liquids, I was in awe the entire time. Fluids flew (as expected), the crowd pushed to the front in their soon to be blood soaked white t-shirts, mockery directed towards today’s political climate was had. Including: chopping off Kristi Noem’s boobs, slicing open Trump’s stomach, and decapitating Bill Clinton (in that order).
Those who aren’t in the loop would refer to them as “shock-rock”, or maybe just a lousy metal band begging for attention, but honestly? GWAR doesn’t just put on a regular old concert; it’s an entire artistic production.
Here’s some deep lore and context: “The story of GWAR is carved across the history of this barren and hopeless planet, but GWAR themselves are not of this world… their story begins in the deepest reaches of outer space. Long ago, the beings who would become the rock band GWAR were part of an elite fighting force, the Scumdogs of the Universe. For eons, they served as thralls to a supreme being known only as the Master. But one by one, each future member of the band earned a glaring reputation for being an intergalactic fuck-up. And so, they were banished, sent away on a fool’s errand to conquer an insignificant shitball floating in a dark corner of the universe; the planet Earth. Once here, GWAR shaped the face of the globe, destroying and rebuilding the natural world, and giving rise to all of human history. Aliens to some, gods and demons to others, our erstwhile Scumdogs fucked apes to create the human race, and this fateful unplanned pregnancy would prove to be truly disastrous!”
If there’s one thing to know, it’s that GWAR’s fanbase falls nothing short of diehards no matter how young or how old. From longtime devotees in battle blood worn shirts (circa Oderus Urungus era, may he Rest in Peace!), to first-timers bracing for their first baptism in blood. There’s a shared understanding when you walk into a GWAR show that you’re not just watching, but you’re fully participating.
Kid Cops is a math punk noise rock band from Chico, CA that evolved from the two piece band, Americas. These three friends have been playing in bands together since middle school and the sound has really progressed with the added low end. Supporting Kid Cops were East Bay emo rockers, Midcourse Correction and North […]
Kid Cops is a math punk noise rock band from Chico, CA that evolved from the two piece band, Americas. These three friends have been playing in bands together since middle school and the sound has really progressed with the added low end.
Midcourse Correction
Supporting Kid Cops were East Bay emo rockers, Midcourse Correction and North Bay indie band, The New Westerns.
The New Westerns standing in front of Thee Parkside
Sadly, it looks like this will be the last show I see Thee Parkside. This iconic bar and venue has been prominent in the Bay Area punk scene, but with the uncertainty of the new ownership of the building, they are ending shows. It is quite fitting though that the last show I see is with my friend’s Casey (Kid Cops) and Travis’ (The New Westerns) bands.
The New Westerns
The first show I saw at Thee Parkside was with Casey Deitz’s other band, The Velvet Teen in 2009. In 2011, I first met Travis Hayes when he was a talent buyer at Thee Parkside. I was working for Asian Man Records at the time and we met during the Asian Man Records 15 year anniversary show. That show inspired me to later move to this neighborhood in 2012 and spend countless times at this great bar/venue. I’ll be creating a separate post with archived highlights from the AMR15 festival, so stay tuned for that.
If you live in New Jersey and your main music interest is hardcore/punk adjacent, chances are you’ve probably been to a cramped as hell show at Cinco’s. Originally operating as a small, family owned and run Mexican restaurant in New Brunswick (the flautas are killer), Cinco De Mayo gradually became part of NJ’s DIY music […]
If you live in New Jersey and your main music interest is hardcore/punk adjacent, chances are you’ve probably been to a cramped as hell show at Cinco’s. Originally operating as a small, family owned and run Mexican restaurant in New Brunswick (the flautas are killer), Cinco De Mayo gradually became part of NJ’s DIY music ecosystem over the last few years. As venues in the area began disappearing, Cinco’s stepped up in hosting hardcore, punk, and underground shows inside the literal dining area. Remember that viral “What the fuck is up Denny’s?” video? Yeah, imagine exactly that… but Mexican food. Some honorable mentions that have played at Cinco’s: Haywire, Bayway, Jivebomb, Dry Socket, XL Bully.
Hardcore local bands Belligerent and QUIZ (in photo) packed Cinco’s by opening up for the next two following bands.
Bands like Belligerent, DUEL, and SPACED are truly redefining what the hardcore scene looks like.. and proving that it’s not just a space for “the boys,” but one where femme-fronted and queer voices are essential. In a genre that has been male-dominated, their presence isn’t just a breath of fresh air, but a necessity.
DUEL was formed in NJ in 2024 by some friends looking to carve out their own space in the scene, and the band really channels community into their set. You can tell just by seeing the amount of people singing back the words, being handed over the microphone. DUEL is on the rise and I’m so here for the ride. They recently released their heavy hitters, two song EP “Counting Sheep” and “The Cost of Living” back in October. Hard recommend if you’re a fan of: GEL, Jivebomb, Gouge Away, Niis.
I think I’ve lost count now on how many times I’ve seen SPACED by now; from larger festival crowds to mid-size venues opening tours and let me tell you… it never feels the same twice. Right now they’re on tour with Sweet Pill, but this show specifically was their own intimate, headlining, side quest show.
Cinco’s was packed from the start, the windows were fogged up, and the neighbors were probably pissed by the time Buffalo’s SPACED hit. They played some classics from their first LP “This Is All We Ever Get”, mixed in with some absolute bangers from their new EP “No Escape”. From start to finish, everyone was engaged.. and that goes for every single time I have seen them. I can’t wait to see what the future holds for them.
Drama with a promoter caused a wave of bands to drop out of CY Fest and their scheduled preshows, leaving a lot of fans disappointed. But some of the touring bands refused to let the trip go to waste. MESS, traveling from Mexico, booked a last‑minute show at Characters Sports Bar in Pomona, playing alongside […]
Drama with a promoter caused a wave of bands to drop out of CY Fest and their scheduled preshows, leaving a lot of fans disappointed. But some of the touring bands refused to let the trip go to waste. MESS, traveling from Mexico, booked a last‑minute show at Characters Sports Bar in Pomona, playing alongside Bomber and Broken Cuffs. For anyone still hungry for great live music that weekend, this show delivered.
The Venue
If you’ve never been to Characters, it’s a rad spot. The building is a big brick structure with a spacious outdoor patio. Inside, you’ll find a long bar running along the right side and a few billiards tables to the left. The bands set up outside under a tented patio area, which actually gives the space surprisingly good acoustics – clear enough to hear everything without blowing out your ears or needing earplugs.
First up was Broken Cuffs, a three‑piece punk band from Palmdale, CA. They had some tech issues that delayed the start and caused the singer’s mic to cut out for half a second here and there, but it wasn’t enough to ruin the set. Once they locked in, they delivered a solid, energetic performance.
Setlist:
Police Brutality
Cultura
Uniform
Quarantine
Murphy’s Law
Fight
Media Takeover
New song (title uncertain; lyric included “I don’t care what you think about me”)
Second up was Bomber, a newer four‑piece made up of veteran LA musicians who’ve been playing punk, rock’n’roll, and Oi! since the ’90s. I’m not sure how many of their members are originally from the UK, but the singer definitely was – and he also handled bass duties, which is always cool to see.
This band absolutely ripped. I walked in without really knowing their music and walked out a fan. The pit had English punks and LA locals mixing it up, and the energy was infectious. I noticed a Chelsea F.C. bag near the stage during setup, and later, when the crowd broke into big anthemic chants, it all made sense; anthems are engrained throughout many areas of English culture. The songs were raw, catchy, and built for shouting along.
Not all of their tracks are available on streaming yet, so a few titles are based on lyrics.
Setlist:
We Don’t Trust You (title uncertain)
Choose Your Fate
We Won’t Fight No One (title uncertain)
System
He’s a Skinhead (title uncertain)
Hard Working Man
Big Business (title uncertain)
Fuck Ice, Fuck You Too (new song released March 25)
Bomber Rules O.K.
I wanted to grab their EP or a shirt to support, but by then I had already bought a MESS LP, a MESS shirt, and two other LPs from a vendor with an incredible vinyl selection – records from the UK, Australia, the U.S., even Brazil.
Closing out the night was MESS, an Oi! punk band from Guadalajara, Mexico. Frontman Abraham Vilchis has a killer raspy, gritty voice that cuts through everything. The crowd was fully locked in from the first song to the last. Standout moments for me were Revenge, Falso Poder, Leave Me Alone, and Street Boys.
Marbled Eye is a post-punk band from Oakland, CA. They brought their enthusiastic raw energy to Bottom of the Hill. Singer/guitarist, Chris Natividad is very prolific and is not only is several bands, but also puts on awesome shows like this one under the moniker “No Time Gigs”. A positive force in the progression of […]
Marbled Eye playing to a packed house at Bottom of the Hil.
Marbled Eye is a post-punk band from Oakland, CA. They brought their enthusiastic raw energy to Bottom of the Hill.
Singer/guitarist, Chris Natividad is very prolific and is not only is several bands, but also puts on awesome shows like this one under the moniker “No Time Gigs”. A positive force in the progression of the Bay Area music scene.
Cemento
Main support was Cemento LA. Self-described as “Grimy, depressive post-punk…monotonous yet melodic cruz through the bleak underworld of human nature and party fallout.”
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 DisappearFriday, 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.
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.
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.
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 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?
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.
Swedish garage punk band The Hives just finished a brief US East Coast tour, with their last stop at Chicago’s Salt Shed on March 26th. Joining them are Australian punk sensations The Chats! With their cheeky, rowdy, and highly-infectious energy, The Chats popped off the night with hits “Identity Theft“, “6L GTR“, and “Struck by […]
Swedish garage punk band The Hives just finished a brief US East Coast tour, with their last stop at Chicago’s Salt Shed on March 26th. Joining them are Australian punk sensations The Chats!
The Australian “shed rockers” can be appreciated by fans of all ages with their old school punk rock sound reminiscent to being in high school again.
A surprise appearance was made tonight by Sarah Greenwell of Rhode Island punk band Gymshorts for a cover of their song “Heaps of New York“.
The Hives prove to be an essential part of rock and roll history, providing the standard of what a live show should be; intense, theatrical, engaging, a blast to your face non-stop energetic party that gives you the post-concert blues when it is over. This sold-out night at The Salt Shed was exactly that, leaving fans begging for more.