lucifer_sam

For the majority of people living outside Los Angeles (and the majority of people living in Los Angeles too), System of a Down’s debut album was a huge surprise. It was well publicized and critically reviewed thanks in part to Rick Rubin’s involvement in production of the album. For the majority of listeners (metalheads included), System of a Down was a welcome reprieve. Up until this period, thrash was still the dominant metal genre, and was to be for some time. System provided a huge breath of fresh air with their debut album, impressing metal fans with their unflattering scratchy riffs and varying levels of fetus-deafening vocals. Two singles from the album, “Sugar” and “Spiders,” saw significant radio play. System of a Down was a success both commercially and critically, and showcased a level of metal-heaviness that was unparalleled by any of their subsequent albums.

The album opens with a scratchy lick in “Suite-Pee” and rebounds with a trademark System thrash riff. From the beginning, the listener is introduced to Serj Tankian’s bifurcated vocals: light and melodic at first and escalating to a heart throbbing wail punctured by animalian screams. The album progresses in vigor when John Dolmayan’s chaotic intensity is displayed in full effect thereafter in "Know." Distortion and feedback on Daron Malakian’s lead guitar provides a chilling atmospheric sound while Serj delivers howls of self-righteous malice. Transitions between melodic and metallic riffs leave the listener refreshed. The vocals get increasingly more tortured with the presence of Serj’s nasal-infused urgence. The sudden appearance of sheer metal soon resounds. “Sugar”s incredible intensity and melodic structure leave the listener agog, and the coda at the end attests its power.

Upon the appearance of “Suggestions,” we are first introduced to System’s unabashed melodic nature. This is the first among many treasures of Middle Eastern folk found in System’s music. But the song doesn’t lend itself to being weak. After the intro and verse, the song collapses into a structured thrash riffs at the chorus. Daron’s guitar sings at the bridge, offering a haunting composition. The real gem of the album, “Spiders,” follows, introducing a System that none expected. It is structured around a small fingerpicking riff delivered by Daron, but builds with intensity upon Serj’s powerful vocals and dark lyrics.


Thereafter, the album regresses into more thrash-oriented rock. "DDevil" brings strength into the album with its twisted lyrics and booming double bass intro. In “Soil,” System pays homage to a band that once was. The vocal breaks in the song forecast future works like “Psycho” (Toxicity), while one of the earliest solos of Daron (a particularly good one) foreshadows the genius that was to come. Towards the end of the song, Serj explodes with emotion with his moribund inquiry:

“WHY THE FUCK DID YOU TAKE HIM AWAY FROM US, YOU MOTHERFUCKERS?”

The album grows darker in “War?” when System questions the genocide of their Armenian ancestors. Finally, System of a Down breaches the banal structure of their normal songs in “Mind.” A small bass intro provided by Shavo Odadjian with whispered vocals ascends to a mind-scattering exploration of one’s most inner thoughts. Throughout the song, there are sparse quiet moments that interrupt the otherwise incendiary music. Then, the album grows frightening in “Peephole,” a revelation into System’s progressive exploits, with the repeated question, “don’t you ever get stuck in the sky?” Afterwards, the double bass schedule resumes in “CUBErt,” which frankly doesn’t bring anything new to the album. However, this modest disappointment is redeemed by the following track, “Darts,” which draws the listener in with its hypnotic bass and beats the living shit out of his ears with Serj’s apocalyptic growls. The last track on the album, “P.L.U.C.K.,” may be the heaviest of the album. Intervening periods of silence and screams open it, followed by an attractive riff. The verse is melodic, the first chorus enormously heavy, but the second, the second chorus is chilling. One of the only tracks on the album where Daron provides backup vocals effectively seals one of the most chaotic metal albums ever:

System of a Down brought so much to the table with their self-titled album. Heavy riffs, growling vocals, and intervening instances of melodies: it was all there. There was too much contained in this album to categorize it as any particular genre of metal, a fate that System has had to suffer for years. They were so off-the-cusp, so unique, and to pigeonhole them as any particular label is ignorant and insulting to what they accomplished. This album remains a mainstay of modern metal because of its huge impact – not upon other bands, but upon SOAD themselves. They never were as heavy on any other album, but that is a fact that I relish, not regret. System of a Down grew and developed into a completely different entity by their last album.

During this time, System became well-known to metal-maniacs, but still relatively unknown to the general public. They toured extensively with their predecessor and idol Slayer following the album’s debut. They also performed at Ozzfest, which drew a great number of metal fans to their unique brand of metal. It was following this that System went back to the studio in preparation for their next (and perhaps most widely recognized) musical feat: Toxicity.

__________________
first.am