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Social Distortion will release their long-awaited eighth album, ‘Born To Kill’ tomorrow, Friday 8th May, via Epitaph Records. It is their first record in 15 years.
‘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.
Hailed by ROLLING STONE as “still full of piss and vinegar,” Born To Kill wastes no time letting the listener know where its heart is: its hard-charging title track — closing in on 3 million streams in the month since it dropped — paying respects to Lou Reed (“Rock ’n’ Roll Animal gonna come your way!”) and Iggy and the Stooges (“The agenda is yeah to Search and Destroy”) and lionizing David Bowie (“It’s a Rock ’n’ Roll Suicide”) on the newly released “Partners In Crime.” This is a man, a band, and a record that wear their influences proudly while creating timeless anthems and ballads that both chart Social Distortion’s path forward and celebrate its storied past: “Tonight” and “The Way Things Were” are emotionally charged reminiscences in the vein of classics like “Story of My Life” from the band’s eponymous 1990 breakthrough and “I Was Wrong” from 1996’s White Light, White Heat, White Trash, the latter containing a potent distillation of the Social D ethos: “I wrote a song with a stolen riff / If you ain’t got a song you ain’t got shit.”
WATCH ‘THE ROAD TO BORN TO KILL’ SHORT DOCUMENTARY HERE
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).
Social Distortion will support Born To Kill with an extensive European tour this Summer, including two UK dates at Download Festival and London’s Koko. The tour will also cover Norway, Sweden, Germany, the Czech Republic, Austria, France, Spain, Italy, Switzerland, Denmark, and Benelux.
03 June – Sentrum Scene – Oslo, Norway 04 June – Sweden Rock – Solvesborg, Sweden 06 June – Rock Im Park – Nürnberg, Germany 07 June – Rock Am Ring – Nurburg, Germany 09 June – Columbiahalle – Berlin, Germany 11 June – Rock For People – Hradec Králové, Czech Republic 12 June – Nova Rock Festival – Nickelsdorf, Austria 14 June – Download Festival – Donington, United Kingdom 16 June – Koko – London, United Kingdom 18 June – Hellfest – Clisson, France 20 June – Azkena Rock Festival – Vitoria-Gasteiz, Spain 23 June – Carroponte – Milan, Italy 24 June – Halle 622 – Zurich, Switzerland 26 June – Vainstream – Munster, Germany 27 June – Copenhell – Copenhagen, Denmark 29 June – Amsterdamse Bos Theatre – Amsterdam, Netherlands 30 June – Docks – Hamburg, Germany 02 July – Les Eurockéennes – Belfort, France 03 July – Rock Werchter – Werchter, Belgium 04 July – Rudolf-Harbig-Stadion – Dresden, Germany
Lifted up Bone by bone Your living word We’re not here alone
Arizona-based trio The Real Anthem return with hard-hitting single “New Skies.” From the onset, the track goes straight for the jugular, with churning guitar chords, an incisive lead, and powerful, locked-in rhythms paying homage some of post-punk and goth’s heaviest and most engaging moments. Shades of Killing Joke, Red Lorry Yellow Lorry, Editors, Catherine Wheel, and The Comsat Angels can be heard throughout the track, and the Real Anthem’s true talent here is injecting this musical maelstrom with magnetic hooks, hopeful lyrics, and a soaring chorus, which takes the “New Skies” to dizzying new heights each time around.
The track is a welcome addition to the band’s catalogue, which includes several standalone singles, including “See Angels,” “Eyes Open Wide,” and “Heaven Come Down.” The Real Anthem are currently building toward their debut full-length album, which is tentatively scheduled for fall/winter of 2026.
Vocalist Shawn Helton offers some words about the track:
“We see the world grappling with an era of managed chaos and a relentless barrage of media-driven narratives. More than a song, ‘New Skies’ acts as a rhythmic exposé of the psychological landscape of 2026, with hues of faith in a better tomorrow.”
Check out the lyric video for the track below, and be sure to stay tuned for more from The Real Anthem in the months to come.
Steve Cropper’s final studio album will be released later this year, featuring appearances from some of rock and blues’ biggest names, including Eric Clapton, Brian May, Billy Gibbons, and Ronnie Wood.
Steve Cropper & The Midnight Hour will release Watching The Tide on August 28 via Provogue/Artone Label Group. The album arrives following Cropper’s passing in December 2025.
The first single from the album, “Ticket First,” features Clapton on guitar. The song originated from a joke Cropper shared with songwriter and producer Jon Tiven.
“Steve had a joke about a woman who rubs a magic lamp. The genie comes out and says, ‘You’ve got one wish’. The woman says, ‘I want to win the lottery’. And the genie says, ‘Sorry, you’ve got to get a ticket first’. When Roger and I heard that, we said, ‘Oh, that’s a song title’. I sent out some emails to guitar players I knew who had a great affinity for Steve and two days later, I got an email back from Eric Clapton’s manager, saying he’d be in Nashville for a concert and could we do it then. He did, I believe, 11 takes on guitar. At the end, Steve and I looked at each other and said, ‘Man, you just turned the song inside out. I think we’re gonna have to give you a writer’s credit’. Eric looked pretty stunned by that. And he said: ‘Well, anything to get my name next to Steve Cropper’s…’”
Tiven said Cropper was eager to make another album following the success of 2024’s Grammy-nominated Friendlytown.
“Making music was Steve’s greatest joy,” explained Tiven. “Steve was so encouraged by Friendlytown. He was adamant he wanted to do another record.”
The album was recorded at Nashville’s RCA Studio C and features Midnight Hour vocalist Roger C. Reale, Ana Grosh on vocals, Nioshi Jackson on drums, and Eddie Gore on keys and percussion.
According to the press release, the album title references Cropper’s co-write of Otis Redding’s classic “(Sittin’ On) The Dock Of The Bay.”
Additional guest appearances include May and Gibbons on the song “My Angels Are Calling,” while Wood contributes slide guitar to “Until Now.” Tiven also performs lead guitar on “Blood From A Stone” and “Here & Gone.”
“Brian is singing from Steve’s point of view,” says Tiven of the Queen guitarist’s contribution to “My Angels Are Calling,” “looking back over his life and his road. It’s very powerful.”
Tiven also praised vocalist Ana Grosh, who appears on “Here & Gone” and “Stand Right Here.”
“We met Ana at the Grammys and I heard immediately that this 21-year-old had something,” recalls Tiven.
Tiven said Cropper was able to hear nearly the entire finished album before his death.
“I finished the mixes about a week-and-a-half before Steve passed and we brought a CD to him at the medical facility,” remembers Tiven. “He called me the night before he passed to tell me how much he loved it. He was playing it for everyone who came to visit him, telling them it was the best record he’d ever made.”
“I know this record provided great joy to Steve in the last year of his life,” says Tiven. “And I’m so glad he was able to have this great creative burst that was so strong…”
TRACK LIST
Tandoori Chicken Ticket First (feat. Eric Clapton) My Angels Are Calling (feat. Brian May & Billy F. Gibbons) Until Now (feat. Ron Wood) Blood From A Stone Here & Gone (feat. Ana Grosh) It’s Gonna Get Worse Down & Out Stand Right Here (feat. Billy F. Gibbons & Ana Grosh) Tipoff To The Ripoff House Of Cards Tandoori Chicken Part 2
We here at Stereogum are fans of the Cincinnati post-punk/indie-pop band Artificial Go, so I’m happy to report that they’ve signed with Carpark Records. Their first single for the label, arriving on the heels of last year’s sophomore LP Musical Chairs, is out today. “Triple Ones” is the A-side of a 7″ dropping next month,…
Last year, bluegrass/Americana stars the Avett Brothers got together with an unlikely collaborator, Mike Patton from Faith No More and Mr. Bungle, to make an entire album called AVTT/PTTN. The trio, also operating under the name AVTT/PTTN, made their TV debut on Fallon. Last month, AVTT/PTTN launched a tour, where they’re playing Avett Brothers, Faith No More, and Mr. Bungle songs as well as the ones from the LP. On Wednesday night, AVVT/PTTN were back on TV, performing on KMML.
LISTEN: Latest Metal News on the Loaded Radio Daily Podcast
The Hottest Band in the World is proving that there is no rest for the wicked. Despite “hanging up the boots” on their physical touring career, Gene Simmons has officially confirmed that KISS is back in the studio and has already tracked a brand-new song penned by the Starchild himself, Paul Stanley. This revelation marks the first sign of new studio life for the band since 2012’s Monster, signaling a massive new chapter for the KISS machine as it transitions into the digital frontier.
TL;DR: The Key Takeaways
The Big Reveal: Gene Simmons confirms KISS is currently in the studio and has recorded a new Paul Stanley-written track.
Avatar Integration: The new material is expected to debut as part of the 2028 Las Vegas avatar-based show via Pophouse Entertainment.
The Vibe: Paul Stanley describes the new creative direction as “classic” with a heavy emphasis on a “danceable” rock beat.
Legacy Honored: The 2026 “KISS Kruise: Landlocked in Vegas” will feature an all-star tribute to the late Ace Frehley.
Inside the Studio: A New Chapter for the Starchild and Demon
In a recent conversation with superfan Sienna Hernandez, Gene Simmons dropped the bombshell that the KISS Army has been waiting over a decade to hear. “KISS is in the studio now,” Simmons stated bluntly. “We just recorded a new song, as a matter of fact, that Paul wrote. I can’t tell you more about it, but it’ll be coming out at some point.”
This move follows Simmons’ recent comments to Pollstar, where he teased that “new” KISS songs—written and performed by the band—would be a cornerstone of the upcoming 2028 Las Vegas residency. These shows, produced by Pophouse Entertainment and Industrial Light & Magic, aim to immortalize the band through cutting-edge avatar technology.
“Everything Has to Have a Beat”: The Sound of 2026
Paul Stanley, who had previously been hesitant about the “reward” of making new music in a streaming-dominated world, seems to have found his spark again. When asked about the vibe of the new material, Stanley emphasized a return to the band’s rhythmic roots.
“I think we’d probably go for something that’s classic, but everything has to have a beat,” Stanley explained. “You gotta be able to dance to it, but it should still be rock.” Lyrically, the Starchild remains focused on the core KISS philosophy: freedom, self-empowerment, and enjoying life—themes he insists are timeless regardless of the band members’ ages.
Remembering the Space Ace in Sin City
While the band looks toward a digital future, they are also taking time to honor their foundational history. The upcoming KISS Kruise: Landlocked in Vegas, set for November 13-15, 2026, at Virgin Hotels, will feature a major emotional milestone: an all-star tribute to original guitarist Ace Frehley, who passed away on October 16, 2025.
The tribute is set to include guest appearances from current and former KISS members, celebrating the “Spaceman’s” unparalleled influence on the genre. The event will also feature two “unmasked” electric sets from the current lineup, proving that while the avatars are coming, the real-life God of Thunder still has plenty of fire left.
When was the last time KISS released a new album? The last full-length studio album from KISS was Monster, released in October 2012.
What is the KISS Avatar Show? Scheduled for a 2028 debut in Las Vegas, the show uses Industrial Light & Magic technology to feature high-fidelity virtual versions of the band, allowing KISS to “perform” forever.
Will the new songs be available on streaming platforms? While Gene Simmons has not confirmed a specific release date, he indicated the new music will be released “at some point” in conjunction with their future projects.
Band Bio: KISS
Formed in New York City in 1973, KISS—led by founders Gene Simmons and Paul Stanley—became a global phenomenon through their iconic makeup, pyrotechnic-heavy live shows, and hits like “Rock and Roll All Nite.” With over 100 million records sold and a 50-year legacy, they remain the gold standard for theatrical rock and roll branding.
Last year, Turnover celebrated ten years of their beloved album Peripheral Vision. The band’s last record was 2022’s Myself In The Way, but they were announced as performers for this year’s Bonaroo and Gov Ball. Now we know why: Their sixth studio LP, Down On Earth, is on the way. Down On Earth is Turnover’s…
David Omlor The American Boys (The Ballad of Frank Gusenberg and the St Valentine’s Day Massacre) Review
The song opens with a captivating rhythm that transports listeners back in time. It evokes the feeling of cruising through a night-time cityscape while wearing a fedora. This infectious folk-rock track draws you in with its brisk bass line tightly intertwined with the drumming. It skillfully blends elements of vintage charm with a modern sensibility. The song explores true crime, specifically referencing the 1929 mass murder of seven members of Chicago’s Northside Gang. This violent event was orchestrated by the infamous Al Capone, a central figure in the era’s organized crime.
The narrative is enriched by references to cinematic portrayals of Chicago’s mafia history. The song paints a vivid picture reminiscent of classic films that depict this gritty landscape. It captures the paradox of fascination and horror embedded in the tales of such notorious figures. The irony present in the lyrics reflects a deeper understanding of the complex history, enticing the listener to dive into this dark past.
Vocally, the delivery is strong and engaging. Frank’s voice carries a weight that resonates with the theme of the song. It perfectly complements the instrumentation, enhancing the overall atmosphere. The production is layered and polished, demonstrating a commitment to quality. Each element of the arrangement is thoughtfully placed, creating a seamless flow throughout the track.
The American Boys (The Ballad of Frank Gusenberg and the St Valentine’s Day Massacre) – Sound and Atmosphere
Special mention must be made of the guitar work from the legendary Shane Blank. His contributions include intricate passages and catchy riffs that elevate the song’s energy. These guitar moments provide a delightful twist, making the listening experience even more enjoyable. Blank’s artistry adds depth, transforming the song into a multi-dimensional creation.
Folk rock as a genre has a rich history, and this track pays homage to that legacy while infusing it with contemporary flair. The steady beat invites listeners to bob their heads and tap their feet, encouraging a sense of movement. It is a celebration of both rhythm and storytelling.
The storytelling aspect ensures that listeners remain engaged, as they wonder about the fates of those involved. The narrative style holds the audience’s attention, drawing them further into the unfolding drama.
The American Boys (The Ballad of Frank Gusenberg and the St Valentine’s Day Massacre) – Performance and Production
It’s easy to find yourself lost in the rhythm and lyrics. The song successfully combines enjoyable musicianship with a meaningful message. This balance is a hallmark of great music that leaves a lasting impression.
This track offers an engaging listen that combines history with entertainment. David Omlor has crafted a piece that resonates with both casual listeners and those interested in deeper narratives. Its infectious rhythm and thoughtful lyrics make it a standout addition to anyone’s playlist.