Cd Review - System Of A Down: Mezmerize

System of a Down - Mesmerize

Having bought this album a couple of days after its release, I figured I'd let the hype (debuted at number 1 on the BillBoard chart) and expectation (close to three years since Steal This Album! was "released") die down a little and have a few listens before writing about it.

Earlier today, I caught myself humming one of the tracks whilst working. Hang on ... did I say "humming" one of System of a Down's songs?Anyone who has heard their earlier work, from the self titled debut album through to the breakout Toxicity to the aforementioned Steal this Album!, will attest to the fact that System of a Down are un-hummable. Their songs are like jagged little masterpieces with so many changes in tempo, style and energy that one wonders whether the entire band suffer from A.D.D.

They can go from straight up hard rock to thrash to metal infused folk within the same song before you can say "genre bending". They also combine influences of Eastern European folk, punk, ska and kitsch (Knight Rider theme anyone? Check out I-E-A-I-A-I-O) with their unique brand of metal. You could, maybe, hum a riff ... if you're lucky.

So why am I humming a previously un-hummable band's song? Because its downright catchy. Its melodic and memorable and has a great hook. No, dear reader, System of a Down have not sold out. They have mastered their art.

The song which I have been humming is called B.Y.O.B (Bring Your Own Bombs). If you haven't heard it yet, you might soon, given it's been nominated for a Grammy. The chorus is downright infectious, to the point of being poppy, although I doubt we'll be seeing any Idol hopefuls performing that as part of their auditions.

Don't get me wrong, this album is anything but poppy. It's still a typical System of a Down album in that it defies definition or classification. Take for example the above mentioned track. It starts off sounding like early Metallica and then the chorus kicks in ("Everybody's going to the party, have a good time. Dancing in the desert blowing up the sunshine") and you could almost dance to it. And then "Blast off. It's party time" and you're suddenly into what sounds like Slayer's Reign in Blood. What the?

All the while vocalist Serj Tankian and guitarist / vocalist Daron Malakian are either trading verses or harmonizing on the chorus. Its an effective one-two sucker punch that works through most of the songs on this album and is a change from previous albums when Tankian carried the bulk of the vocal duties. Malakian sings a whole lot more on this and brings a raspy, squeaky, manic contrast to Tankian's dramatic, sometimes operatic delivery. Their collaboration brings an element of fun to this album and the listener is always second guessing as to which one of the vocalists will go on one of their trademark tangents.

Expect anything from Bohemian Rhapsody-esque harmonizing (Revenga) to intertwining vocal gymnastics (Radio/Video) to yodelling and beatboxing (Violent Pornography). These two have to be heard to be believed.

The tracks themselves stand out as individual vignettes on SOAD's thoughts on the world at large. SOAD have been accused of being overly political mostly due to their Armenian ancestry and involvement with anti-war movements, but they reckon their music is more social commentary rather than anything else. Some tracks make stinging, sarcastic comments on the state of the world today but its all done tongue in cheek. BYOB, Cigaro, Sad Statue and the intro Soldier Side all have political undertones but these are well balanced by the other songs such as Question! which asks "do we know when we fly, do we go when we die" after stating "Ghosts are no different than you."

The best one though, has to be Violent Pornography which has an ultra catchy chorus although singing these words out loud may turn heads and attract undue attention.

"Its a violent pornography,
choking chicks and sodomy
The kinda shit that's on your TV
It's on the TV
F**k Turn off the TV
Can you say "brainwashing"?
Its a non-stop disco"

And it all ends with a light beat box moment which makes ones wonder where do these guys get the ideas for these types of songs? Unbelievably different, yet anyone who has watched even a little of this year's Big Brother, will know what this song is talking about.

To conclude, Mesmerize is a great album in many ways. It successfully continues from where Steal ... left off but makes a quantum leap in terms of attracting new listeners and showcasing the talents of Tankian, Malakian, Odadjian (bass) and Dolmayan (drums). The band has not lost any of its creativity, wit or edge but has gained a sort of maturity that can only come from being comfortable in ones skin. SOAD brought raw power, a schizophrenic energy and a certain aggression in the first two albums followed by hints of what was to come in Steal... Mesmerize brings a new level of craftmanship. It still brings the power, emotion, energy and aggression but also brings an element of perfection.

The second part of Mesmerize, Hypnotize (click on the link - read my review ) will be released towards the end of this year. If these tracks are anything to go by, expect more fireworks. System of a Down are hard to classify as a band. They are not nu-metal because neither Limp Bizkit, Linkin Park or any of their contemporaries could hold a candle to these guys. Ditto heavy metal, thrash, death metal, prog rock or alternative.

If they carry on making albums such as Mesmerize, they'll be in a league of their own.
Score: 9/10

CD Review - System Of A Down: Hypnotize

CD Review – System of a Down: Hypnotize

After six months of waiting, the second part of SOAD’s Mesmerize / Hypnotize double album has finally arrived. Like its predecessor, Hypnotize debuted at No. 1 on the Billboard charts thanks in kind to millions of rabid fans hankering for another shot of SOAD’s unique brand of rock.

So was six months worth the wait? Read on.

Hypnotize is more of the same genre bending, indefinable, Eastern infused rock that Mesmerize brought and it has some great moments. Starting of with the raw and aggressive Attack!, you get the feeling that this going to be heavier and somewhat less radio-friendly than Mesmerize and that point is reinforced by the next track Dreaming.

Attack! starts out sounding like something off Metallica’s St Anger. The speed and ferocity of the opening riff gives way to the somewhat quieter delivery of the verse before all hell breaks loose again on the bridge and chorus. The machine gun staccato of the chorus (We attack, attack, attack…) pushes home the aggression that is reminiscent of SOAD’s earlier albums and jolts the listener into realizing that there’s going to be very few “Everybody’s going to the party, have a real good time” moments on this album. Pop will take a back seat this time.

Serj Tankian opens Dreaming with his trademark soaring vocals and Daron Malakian chimes in during the chorus and bridge and their combination is spot on again. Daron carries the bulk of the vocal duties on this album as he did on Mesmerize and it works well for most of the tracks.

Kill Rock ‘N Roll, U-Fig and Stealing Society maintain the fast and heavy themes but others such as the title track, Tentative and She’s like Heroin still push the boundaries of conventional rock sensibilities. Heroin tries ska while Vicinity of Obscenity has a funk, disco break in between the manic chorus (Banana, banana, banana, terracotta, banana terracotta, terracotta pie). This is, without a shot of a doubt, the craziest song on the album.

The standouts though are the haunting Holy Mountains, which again revisits the Armenian genocide, and Lonely Day, which is the first bona fide ballad on any SOAD album. Holy Mountains is powerful and the emotion is evident. Serj’s vocal control is brilliant and conveys the arc of emotion, which starts out as mournful and sorrow laden, which then gives way to anger. Daron, of course, does the anger part well, vocally as well as with the guitar.

Other reviews have slated Lonely Day for its simplistic lyrics, which I agree is devoid of any substance, yet the craftsmanship of the track itself is a clear demonstration of what these musicians can do. It’s a power ballad that surprisingly sticks to convention. This is an indication of what SOAD would sound like if they played a “normal” song. No tempo changes, shifts in genre or experimentation. It is refreshing and unique (which in itself are unusual words to describe “normal”).

So, the final verdict? System of a Down have done it again ... hang on, this was recorded at the same time as Mesmerize which negates my “again” comment. Was waiting six months worth it? A resounding “yes” because this is a different animal to Mesmerize. Sony BMG could have released them together but the impact would have been dulled. The Psynic in me realizes that the impact of sales would have been dulled as well which is the reason for the six-month wait but whipping fans into frenzy is a marketing ploy and in this case, the ploy has worked. Number 1 on debut is testament to this but is also a tribute to SOAD’s unique brand of rock.

With a Grammy nomination (Hard Rock) for B.Y.O.B already in the bag for 2006, the future looks good for System of Down. Even if they ditched their genre bending ways and came out with something conventional, fans would buy it because “normal” is still something you have never heard when System of a Down are in the mix.

Score: 9/10

Review - Motley Crue Live

Review – Mötley Crüe : Red, White and Crüe Tour
Venue: Sydney Superdome
Date: December 3, 2005
Supporting Acts : Casanovas (Australia), Mötorhead (UK)

It was 1989 and Dr Feelgood had just been released. I heard the title track on Rick Dee’s Weekly Top 40 and was hooked. The chugging guitars, the whiney vocals, the manic drumming and a crazy guitar solo. For a 15-year old just discovering hard rock / heavy metal, it was like manna sent from the rock gods.

Their vinyl LP was one of my first heavy metal purchases and still remains a prized possession. Given that history, I was more than stoked to secure tickets in May this year, for their re-union tour.

The power of p2p allowed me to catch up their back catalogue so I was primed for the event. The Casanovas kicked things off at around 7pm. I was in a queue to buy beer (what else would you drink at a rock concert?) when they started and from the sound of things I decided to forgo the beer and check them out. I’m glad I skipped that beer.

The Casanovas
Sounding like a musical lovechild between Kiss, ACDC, Bon Jovi and the headlining act, these local boys rocked the just-starting-to-fill house. This Melbourne based trio have a reputation in Australia for being under-achievers because lesser bands such as The Vines and Jet made the big time before they did, but going from the tight 30 minutes they played…correction…rocked, their time will come. Superb energy and a well-balanced blend of riffage and solos, The Casanovas will definitely be on my Christmas shopping list.

This was my first time experiencing The Casanovas live. To say I was impressed would be an understatement. 4 out of 5 and looking forward to more.

Blast from the Past


Well, if The Casanovas looked like stealing the show, the following band (more an institution than a band I reckon), pretty much did. Lemmy, Phil and Mickkey are credited for inventing speed metal. Combining punk and uncompromising heavy metal, these seasoned musicians have been a mainstay of the rock scene for more than 30 years.

Twice nominated for Grammy’s, Mötorhead are better known to younger metal heads as one of the major influences of Metallica. Once their set started, you immediately knew why.

Vocalist Lemmy growled his way through almost an hour of Mötorhead’s greatest hits including Ace of Spades and even a new track off their latest album, Inferno. Throughout the performance, the driving guitars and thumping drums made it downright hard to breath.

Lemmy and lead guitarist Philip Campbell combined perfectly for crunching guitar assaults that had punters moshing on the terraces. Mickkey Dee was a blur of hair, drumsticks and thundering sound. His solo midway through the set was a spectacle to behold. This was old school metal in way I had never experienced.

Even the way the set ended was legendary. Lemmy hit an open E chord on his Rickenbauer, casually strolled over to the huge amp behind him, turned the reverb way up, placed the guitar facing the speaker and in a thunder of feedback bowed with the rest of the band and walked off as the lights dimmed. Only two words can describe that performance… f**king awesome!

5 out of 5.

The Main Event

Still buzzing from the Mötorhead set, the crowd started a chant of Crüe! Crüe! Crüe! as the roadies furiously cleared the stage. The ripples of excitement in the audience were matched by ripples in the large pink and white striped big top-style tent covering half the stage. The fogs machines went into overdrive, no doubt to conceal the surprises that were reputedly part of the show dubbed the “Carnival of Sins”.

The lights dimmed to thunderous applause and the big screens either side of the stage lit up. It was a preview for Disaster The Movie wherein Mötley Crüe are immortalized in clay. Not what many expected, but it was mildly amusing.
(www.disasterthemovie.com)

Then out strolled an evil looking midget clown amid heavy guitars. After asking the crowd “are you ready” a couple of times, fireballs and pyrotechnics started up within the big top which still had not been opened. When it did, we were headlong into “Shout at the Devil”.

The years haven’t been good to Vince Neil and he didn’t look anything like the familiar lithe, peroxide blond, lounge lizard on the Dr Feelgood album sleeve. At least his voice was still good. Or so I thought. Whether it was his mic or the way the sound was set up but his vocals were very hard to pick out amid the heavy guitars and a painted Tommy Lee’s frantic drum thumping, as the show went on.

Nikki Sixx, was also painted up and his bass lines seemed distorted and messy. Mick Mars, my favourite band member, was in a black overcoat and top hat. His trademark slouch was further accentuated by what looked like six-inch platform boots. But for a guy who has had a hip replacement and suffers from a degenerative bone disease, he looked in pretty good nick.

The performance itself was good in patches. No complaints with the music but the vocals were lost and this was further exacerbated by Neil singing alternating verses and relying on audience interaction. It’s one thing to get the audience involved but it seems like a farce when every song is half sung.

The next 45 minutes were dedicated to their “old shit” with gems such as “Too Fast For Love”, “Looks that Kill” and “10 Seconds to Love” among more fireworks, pyros and scantily clad acrobats who kept the moshers entertained. The sleazy, glam metal machine that is Mötley Crüe were just starting to gain momentum when, strangely, they called a 10 minute interval and left. The big screens came on again to show more of the movie clip that started the show but that ended after two minutes.

After the interval, Vince and Tommy came back onstage on a couple of Harley Davidsons. After revving it up, they went headlong into “Girls! Girls! Girls!” which had everyone up and jumping. After a couple more songs from their back catalogue, they slowed things down with a newer song. “Glitter” was played in a medley with “Without You” and then the lighters came out for “Home Sweet Home” which the audience sang the first time around.

“Don’t Go Away Mad” would have been a highlight if the sound wasn’t so distorted and vocals completely drowned out. Just as things were gaining momentum once more, another break, this time in the form of Nikki Sixx introducing the band and chasing a midget offstage (!).

Then Tommy took over the mic and this is where things really started going downhill. After taking a cheap shot at Bon Jovi, he threw his bottle of Jagermeister to some lucky punter in the front row. Heard someone yell, “all the best with the Hep buddy!” as the lucky fan chugged whatever was in the bottle.

Tommy took over the hand held camera Nikki had used to introduce the band. Calling it his “titty cam”, he invited female members of the audience to flash him for the benefit of the cam and the big screens. A couple of them did, which I guess is fun and games, but when Tommy jumped into the front row to force a young lady to do it, was just plain tasteless.

Now this entire episode took up close to 20 minutes which could have been better spent on working out the sound problems, but when they did get back to the music, Dr Feelgood sounded like it was being played through a pair of busted up PC speakers. Only the driving rhythm was recognizable. That beautiful guitar solo was lost in parts as were the lyrics.

After that, even Mick’s guitar solo, which blended into “Kickstart My Heart”, failed to lift my mood. “Sick Love Song”, “Same Ol’ Situation” and a huge, effects laden encore rounded out the night and the show was over.

Personally, the night ended on a bittersweet note. I guess I expected Mötley Crüe to be more mature and professional a la Metallica. But I guess they are re-living their heyday when the spectacle was more important than the performance. On that front, Mötley Crüe delivered. It was a sleazy, corrupt-your-mind sort of performance and if the sound problems weren’t so bad, this show could have been actually good.

Sadly for me, it was more like a bunch of old farts reliving their heyday and in the process turning into an embarrassing cover band of themselves.

3 out of 5. (Mick Mars gets a 4 for being the coolest cat in the show).

The Psynic Dec 05