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| Photo - Jonathan Weiner |
Social Distortion have now shared 'The Way Things Were', the final preview of their long-awaited eighth album, 'Born To Kill'. The record, their first in 15 years, arrives this Friday, 8th May, via Epitaph Records. On 'The Way Things Were', Social Distortion look back without losing momentum, as Mike Ness revisits his hell-raising Fullerton youth. It’s a bruised, nostalgic anthem in the vein of classics “Story of My Life” and “I Was Wrong". It is a potent distillation of the Social D ethos, featuring lyrics like “I wrote a song with a stolen riff / If you ain’t got a song you ain’t got shit.”
'Born To Kill' is more than the conclusion to a 15-year wait between Social Distortion albums, it’s a revelation: 11 songs of pure, unadulterated rock fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made Ness a poet and sage to the dispossessed for more than 40 years.
Co-produced by Ness and Dave Sardy, and featuring guest appearances from Benmont Tench of Tom Petty and the Heartbreakers and Lucinda Williams and collaborative cover art by Ness and Shepard Fairey, 'Born To Kill' is the latest installment in a remarkable catalog that spans nearly three generations, including Mommy’s Little Monster (1983), Prison Bound (1988), the RIAA gold-certified Social Distortion (1990) and Somewhere Between Heaven and Hell (1992), White Light, White Heat, White Trash (1996), Sex, Love and Rock ’n’ Roll (2004), and Hard Times and Nursery Rhymes (2011).
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The Womack Sisters - Chauffeur.
The Womack Sisters – Kucha, Zeimani, and BG Womack – were singing before they could walk. Well that's the back story Beehive Candy have mentioned a few times before. The reality is that it frames their music so accurately and their new single is another confirmation of the talent they have, so here's the (true) story again.
The Sisters grew up on the road. Their schools were stages and studios all over the world, where they sang behind their parents, Zekkariyas & Zeriiya (fka Womack & Womack), alongside their four siblings. Nowhere was home for long. No matter where they lived they were always surrounded by music and family.
Their 2026 self-titled debut album (out on August 14), The Womack Sisters, is the musical culmination of the Sisters’ long and winding journey to find themselves. Over an intensely soulful collection of tunes that harkens back to when pop music had substance, vibe and purpose, each of their distinct voices have their moments in the spotlight.
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| Photo - Bob Hanham |
Hailing from Victoria, BC, 64 Funnycars return with Happy Go Lucky, a reissue of their long out-of-print debut album, preceded by a three-song teaser featuring “The Barbeque Party,” “Flat World,” and “Dull Daddy-O,” out May 6 via 604 Records, with the full album arriving May 27. First heard across Canada’s campus radio networks in the late 80s, the record lands again with its original charge intact, a snapshot of a band that thrived on instinct, hooks, and not overthinking it.
Formed in 1987 by four UVic campus radio regulars, 64 Funnycars were shaped as much by the airwaves as the stage. At a time when Victoria leaned toward the heavier and more confrontational, they carved out their own lane, rooted in melody, movement, and a shared love of jangly, high-energy college rock. Bands like Young Fresh Fellows, Hoodoo Gurus, and The Replacements weren’t just influences, they were part of a broader circuit the Funnycars actively belonged to, charting on campus stations, trading tapes, and building momentum from Victoria out into the wider Canadian network.
That crossover between radio and room came to life at Harpo’s, the band’s early proving ground and a cornerstone of the Pacific Northwest underground, where touring acts like Red Hot Chili Peppers, Alice in Chains, No Doubt, and Green Day passed through on their way up. Within weeks of forming, the Funnycars were on that stage, developing a reputation for loose, high-speed sets with no fixed setlist, three members trading lead vocals, and a kind of organized chaos that kept things on edge. As guitarist Eric Cottrell once put it, the band felt “more like a fun jalopy than a fine-tuned sports car,” a description that stuck.
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