SPILL ALBUM REVIEW: SOCIAL DISTORTION – BORN TO KILL

SOCIAL DISTORTION
BORN TO KILL
EPITAPH

Social Distortion has returned with their first album in 15 years. born to kill is led by a pair of singles and follows 2011’s Hard Times and Nursery Rhymes, as the Orange County punk rock legends mark a significant comeback on their eighth studio album.
The album opens with the title track. “Born To Kill” is an anthem of an opener, designed to be listened to loud. Mike Ness sounds absolutely unstoppable as his no-frills but all-powerful guitar tone rips through the soundscape of the driving title track, supporting his signature, gravelly voice that still carries a venomous bite. “Born To Kill,” like most of what is to follow, stays true to what you would expect from Social Distortion; this is punk very much influenced by classic rockabilly. Despite this, and likely due to their peerless quality, Born To Kill feels immediately fresh – no one is making punk rock like this. This is further established on the melodic and ripping guitar solo on the following track, “No Way Out,” and the subsequent jangly stomper that is “The Way Things Were.” What makes the latter track so special is the ability for Ness and the band to capture such an emotional delivery, speaking to the genuine nature that resides at the core of the band’s work.

Born To Kill is a lean record that feels as though it was recorded in a garage, live off the floor. It’s rough in its delivery but remains well polished in the songwriting as Ness manages to make what was once old feel new again. A prime example of this is “Tonight”, a song that very well could have been released on any previous Social Distortion album but feels integral to this very moment on Born To Kill. Furthermore, at the heart of the album is a duet with Lucinda Williams on “Crazy Dreamer.” Were it not for the fuzz addled guitars, this would be a bona fide ‘50s western record, and were it not for Ness’ gruff voice, you’d believe that this was an unearthed track from Tom Petty. Similarly, the cover of Chris Isaak’s “Wicked Game” is an instant classic as Ness pours absolutely everything he’s got into that chorus. While these two tracks demonstrate a greater level of range behind Born To Kill, “Partners In Crime,” “Walk Away (Don’t Look Back),” and “Over You” are highlights in their own right as mean, bare bone rockers.

There is a timelessness to Social Distortion that bridges bygone eras of rock, country, and punk together seamlessly. It’s this very essence that makes Born To Kill such a refreshing take on the genre of punk rock and a meaningful addition to the band’s catalogue. On Born To Kill, Social Distortion remains stylistically distinct as the band stands tall, knives sharp, and their bite scathing. With a 15-year gap between records, Born To Kill is a triumphant return of rock ‘n’ roll revelry that reaffirms the power of Ness as a singer, guitarist, and songwriter. Most importantly, Born To Kill demonstrates the enduring legacy of Social Distortion as punk rock pioneers who remain often imitated, but never replicated.

Artist Links