"Love 2 Be Hated" takes a journey through SOCIAL DISORDER founder Anders "L.A." Rönnblom's life; his battle with alcoholism, personal demons, and his way back. This is not to say it's a concept album, but rather Rönnblom tells his story to hopefully touch people and give them something they can relate to. Musically inspired by his earliest influences, Rönnblom laid down the basics of each track and then enlisted musicians with whom he has a personal connection to help polish and add their own touches. Included among those contributors are Tracii Guns (GUNS N' ROSES, L.A. GUNS), Rudy Sarzo (QUIET RIOT, OZZY, WHITESNAKE), Jeff Duncan (ARMORED SAINT, ODIN), Dave Stone (RAINBOW, MAX WEBSTER), Snowy Shaw (KING DIAMOND, DREAM EVIL, MERCYFUL FATE), Shawn Duncan (DC4, ODIN), and Leif Ehlin (PERFECT PLAN). Rounding out the band is relatively unknown singer Thomas Nordin. Interestingly, though Nordin hails from the same town in Sweden as Rönnblom, the later had never heard the singer until Ehlin connected the two.

"Windy Road" did what any good album opener should do - it piqued my interest in what SOCIAL DISORDER has to offer. Despite the uplifting lyrics of its chorus, "Windy Road" comes off as an unsettling lullaby of sorts; the eeriness most pronounced during the track's intro and outro. The playing sandwiched between has a big anthemic feel with an almost sonic tonality. "Dreaming" has hints of WHITESNAKE; Nordin even sounding somewhat COVERDALE-ish. A wall of guitars serves as the backdrop for the uptempo drumming that pushes the song forward. The guitar riff leading into "Scars" is attention grabbing, the song eventually settling the listener into a pounding groove.

"Love 2 Be Hated," the title track, alternates between spare and lusher segments. Its central riff is something to behold, the drumming and guitar melding perfectly. "Raise A Glass" and "Sail Away" both evoke DEEP PURPLE, perhaps because each uses the keyboard to such good effect (at times "Raise A Glass" all but had me convinced JOHN LORD was playing). Overall, "Raise A Glass" is a rollicking foot tapper. The guitar line is buzzy, though it is the drums and bass which carry the track's funkiness. "Sail Away" features a big opening riff that focused me in, the song itself then straddling the line between a downtempo rocker and a ballad.

"Down On My Knees" is a quirky song in the vein of "Windy Road;" the lyrics say one thing, but the music another. This is far from a fault. Rather, it keeps things interesting and ensures that listeners remain on their toes if they are to "get it." Lyrically, "Down On My Knees" is a song of lament, while musically it has a 1980s Sunset Strip uptempo pop metal sensibility. Also adding to the song are its vocal harmonies. Though I'm just now acknowledging their first-rate quality, these are a strong point throughout the album.

"Out Of Love" features a unique guitar-keyboard tone running underneath the track's main theme. "The One" is the album's true ballad, its harmonies somewhat reverential. Despite "The One's" minimal, stripped down nature, the keyboard and guitar combine in a manner that's orchestral. The album closes with "Wings Of Serenity," an instrumental evidencing multiple stylistic shifts. Rather than trying to individually outdo one another over the course of the track, "Wings Of Serenity" proves to be an example of well structured, complimentary group playing (highlighted by excellent tandem guitar work).

On "Love 2 Be Hated" the members of SOCIAL DISORDER collectively demonstrate their years of experience and professionalism when it comes to making music. Each member brings his unique musical influence(s) to bear over the course of the album, with tracks variously channeling bands such as WHITESNAKE, RAINBOW, and DEEP PURPLE. Like those bands, SOCIAL DISORDER does not make simple songs, but instead tunes built upon sometimes complex layers of riffage and rhythms. The end result is a melodically solid, aurally pleasing rock album.